London Philharmonic Orchestra 19 Jan 2018 concert programme

b e m ov e d 2017/18 Season at Southbank Centre’s Royal Festival Hall Concert programme

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader pieter schoeman supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Friday 19 January 2018 | 7.30pm

J S Bach Toccata and Fugue in D minor for organ, BWV565 (9’) Saint-Saëns Symphony No. 3 in C minor, Op. 78 (Organ) (34’) Interval (20’) Fauré Pavane, Op. 50 (6’) Jongen Symphonie concertante for organ and orchestra, Op. 81 (36’)

Dirk Brossé conductor James O’Donnell organ

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

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Das Rheingold:

A Golden Gala Evening 6 Dirk Brossé 7 James O’Donnell

Leader: Kevin Lin 8 Programme notes 11 Recommended recordings

Saint-Saëns on the LPO Label 12 Next concerts 13 Sound Futures donors 14 Supporters 16 LPO administration

Welcome

Orchestra news

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.

Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall.

If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 3879 9555, or email 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.

Out now The Spring/Summer 2018 edition of Tune In, our free twice-yearly magazine. Copies are available at the Royal Festival Hall Welcome Desk in the foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic

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2018/19 season Booking for the London Philharmonic Orchestra 2018/19 season will open on Tuesday 6 February 2018 online and via the LPO Box Office. To take advantage of priority booking (from Tuesday 30 January), become a Friend of the London Philharmonic Orchestra for as little as £60 a year. Call Ellie Franklin on 020 7840 4225 or visit lpo.org.uk/support/memberships

LPO Annual Appeal 2017/18 This season we are proud to celebrate the 30th anniversary of the Orchestra’s Education & Community department. For three decades we have taken ourselves from the concert platform and out into the world around us, driven by the desire to share the power and wonder of orchestral music with everyone. We are asking you to help us celebrate this 30th year by giving to our 2017/18 Annual Appeal. Visit lpo.org.uk/appeal to find out how your gift can help, from planting the seed in those who have never heard orchestral music to reawakening others to joys they may have forgotten.

Glyndebourne 2018 As Resident Symphony Orchestra at Glyndebourne Festival Opera since 1964, we always look forward to our summer months spent in the Sussex opera house, and the 2018 Festival promises to be a vocal and visual feast. Booking opens on Sunday 4 March and we launch the season on 19 May with Puccini’s glorious Madama Butterfly conducted by Omer Meir Wellber (running until 18 July). Over the summer we’ll also perform Strauss’s Der Rosenkavalier (20 May–26 June) and Debussy’s Pelléas et Mélisande under Glyndebourne Music Director Robin Ticciati (30 June–9 August); and Barber’s rarely performed, Pulitzer Prize-winning opera Vanessa under Jakub Hrůša (5–26 August).

For more details visit glyndebourne.com

On stage tonight

First Violins Kevin Lin Leader Vesselin Gellev Sub-Leader JiJi Lee Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Rebecca Shorrock Amanda Smith Georgina Leo Austeja Juskaityte Katherine Waller Gabriela Opacka Second Violins Dania Alzapiedi Guest Principal Helena Smart Kate Birchall Nancy Elan Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Helena Nicholls Sioni Williams Sheila Law Alison Strange John Dickinson Judith Choi-Castro

Violas David Quiggle Principal Katharine Leek Benedetto Pollani Laura Vallejo Naomi Holt Stanislav Popov Daniel Cornford Isabel Pereira Martin Fenn Sarah Malcolm Martin Wray Richard Cookson Cellos Pei-Jee Ng Principal David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Tom Roff Helen Rathbone George Hoult Philip Taylor Iain Ward Double Basses Kevin Rundell* Principal Hugh Kluger Laurence Lovelle Lowri Morgan Kenneth Knussen Catherine Ricketts Lachlan Radford Rupert Ring

Flutes Juliette Bausor Principal Sue Thomas*

Trumpets Paul Beniston* Principal Richard Blake Guest Principal Anne McAneney*

Chair supported by Victoria Robey OBE

Stewart McIlwham*

Chair supported by Geoff & Meg Mann

Piccolo Stewart McIlwham* Principal

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

Oboes Ian Hardwick* Principal Alice Munday

David Whitehouse Bass Trombone Lyndon Meredith Principal

Cor Anglais Sue Böhling* Principal

Tuba Lee Tsarmaklis* Principal

Chair supported by Dr Barry Grimaldi

Clarinets Jordan Black Guest Principal Thomas Watmough

Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal

Bass Clarinet Paul Richards Principal

Chair supported by Andrew Davenport

Henry Baldwin Co-Principal

Bassoons Jonathan Davies Principal Gareth Newman Contrabassoon Simon Estell* Principal Horns David Pyatt* Principal Chair supported by Sir Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Chair supported by Friends of the Orchestra

Harp Rachel Masters Principal Piano Catherine Edwards Ian Tindale * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: David & Yi Buckley • The Candide Trust • Bianca & Stuart Roden • Neil Westreich

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The LPO musicians really surpassed themselves in playing of élan, subtlety and virtuosity. Matthew Rye, Bachtrack, 24 September 2017 (Enescu’s Oedipe at Royal Festival Hall) Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities.

Celebrating its 85th anniversary this season, the Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur.

Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and this season we celebrate the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015.

The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Our year-long Belief and Beyond Belief festival in partnership with Southbank Centre ran

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throughout 2017, exploring what it means to be human in the 21st century. In 2018, we explore the life and music of Stravinsky in our new series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers.

Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, 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. Touring remains a large part of the Orchestra’s life: the 2016/17 season included visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland, and tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include Beethoven’s Symphonies Nos. 1 and 4 conducted by Kurt Masur; Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; and Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski.

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

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people.

In 2017/18 we celebrate the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media.

Das Rheingold: A Golden Gala Evening Saturday 27 January 2018 6.00pm Royal Festival Hall

Wagner Das Rheingold Vladimir Jurowski conductor with soloists including Sofia Fomina, Anna Larsson, Matthias Goerne and Matthew Rose

Celebrate Vladimir Jurowski’s 10th year as LPO Principal Conductor by joining us for this Golden Gala Evening at Royal Festival Hall.

As well as standard concert tickets, we are offering special packages including pre- and post-concert receptions and the chance to meet the musicians who will bring Wagner’s great music drama to the stage.

lpo.org.uk/vj10

lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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Dirk Brossé conductor

The drive and energy emanating from Dirk Brossé rarely flagged as he steered the LPO through music that is often multi-faceted and tortuous in direction ... An achievement of Hollywood proportions.

© Persfoto

Edward Lewis, Classical Source, 2 December 2013 (‘The Genius of Film Music 1980–2000’, Royal Festival Hall)

Dirk Brossé, born in Ghent, Belgium, has worked all over the world as a conductor and composer. He is currently Music Director of the Chamber Orchestra of Philadelphia and of Ghent Film Festival, and professor of composition and conducting at the School of Arts/ Royal Conservatory of Music in Ghent. John Williams chose him as Principal Conductor of the Star Wars: In Concert World Tour.

Dirk Brossé has composed some 400 works, including concertos, oratorios, lieder, chamber music and symphonic works. He has also composed extensively for cinema, television and stage, for films including Boerenpsalm, Koko Flanel, Daens, The Lovers and Knielen, and television including his score for the BBC/ HBO series Parade’s End, which was nominated for an Emmy Award.

He has made more than 90 CD recordings and has collaborated with world-class artists such as José van Dam, Barbara Hendricks, Julia Migenes, Claron McFadden, Julian Lloyd Webber, Sabine Meyer, Alison Balsom, Salvatore Accardo, John Williams, Toots Thielemans, Hans Zimmer, Elmer Bernstein, Emma Thompson, Sir Kenneth Branagh, Randy Crawford, Lisa Gerrard, Mel Brooks, Maurane, Sinead O’ Connor, Maurice Jarre, Michel Legrand, Youssou N’Dour and Marcel Khalifé. He has worked with directors Stijn Coninx, Frank Van Laecke, Susanna White and Roland Joffé, and with writers Gabriel García Márquez, Seth Gaaikema and Didier Van Cauwelaert.

Dirk has conducted many top orchestras, both at home and abroad. In 2013 he conducted the London Philharmonic Orchestra in ‘The Genius of Film Music 1980–2000’, a concert of popular film scores at Royal

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Festival Hall. In February 2017 he returned to conduct the Orchestra performing a live soundtrack to a special Valentine’s Day screening of the film Brief Encounter.

Dirk has also conducted the London Symphony, Royal Philharmonic, Vancouver Opera, Opéra de Lyon and Hong Kong Chinese orchestras; the Orchestre de la Suisse Romande; and the Philharmonic Orchestras of Brussels, Antwerp, Rotterdam, Basel, Madrid, Porto, Birmingham, Ulster, Shanghai, Hong Kong, Seoul, Queensland, St Petersburg, Los Angeles and Boston. In 2008 he made his first appearance at the Royal Albert Hall in London, conducting the London Symphony Orchestra in ‘A Night of Music from the Movies’, featuring the music of Patrick Doyle, with guest appearances by such renowned actors as Emma Thompson and Sir Kenneth Branagh. In 2016 he made his debut at Carnegie Hall in New York.

Dirk has been awarded the title Cultural Ambassador of Flanders, the Flemish Parliament’s Gold Medal for Merit, the Achille Van Acker Prize, the Joseph Plateau Honorary Award and the Global Thinkers Forum Award for Excellence in Cultural Creativity. In 2010 he was made an honorary citizen of Destelbergen and in 2013 was elevated to Belgium’s hereditary nobility, with the personal title of Knight.

dirkbrosse.be facebook.com/MaestroBrosse

Kevin Lin

organ

leader

James O’Donnell is one of Britain’s leading organists and choral conductors. Since 2000 he has been Organist and Master of the Choristers of Westminster Abbey. Recent highlights have included directing the music at the wedding of The Duke and Duchess of Cambridge, the visit of Pope Benedict XVI, and concert tours to the Far East, Australia and the USA. In March 2014 he appeared with the LPO at Royal Festival Hall as the soloist in Poulenc’s Organ Concerto and Saint-Saëns’s ‘Organ’ Symphony, subsequently released on the LPO Label (LPO-0081: see page 11).

Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017.

© Clare Clifford

James O’Donnell

James O’Donnell studied as a Junior Exhibitioner at the Royal College of Music and then as Organ Scholar of Jesus College, Cambridge. After having served for six years as Assistant Master of Music, he was appointed Master of Music at Westminster Cathedral at the age of 26. Under his direction the Cathedral Choir won the Gramophone Record of the Year award with a Hyperion recording of Masses by Martin and Pizzetti and became the first choir to be honoured with a Royal Philharmonic Society Award (1999).

As an organist, James O’Donnell has appeared in concert all over the world, including the USA, Japan, Australia, New Zealand and throughout Europe and the UK. He was President of the Royal College of Organists from 2011–13. He is Music Director of St James’s Baroque and holds Visiting Professorships of Organ and Choral Conducting at the Royal Academy of Music, of which he was elected to Honorary Membership in 2002. He has been elected to Fellowship of the Royal College of Music and Honorary Fellowship of Jesus College, Cambridge.

He has also been awarded the Papal honour of Knight Commander of St Gregory, and in 2013 received an honorary DMus from the University of Aberdeen.

Originally from New York, Kevin has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Houston Symphony and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster and Principal Second Violin at The Colburn School and The Curtis Institute of Music.

An avid chamber musician, Kevin has collaborated with the Tokyo and Ebène quartets, Edgar Meyer, MengChieh Liu, John Perry, Hal Robinson of The Philadelphia Orchestra and Andrew Bain of the Los Angeles Philharmonic.

In recent years he has received prizes from the Irving M. Klein International Competition and the Schmidbauer International Competition, and competed in the George Enescu International Violin Competition and the Menuhin International Violin Competition.

Kevin spent his early years studying with Patinka Kopec in New York, before going on to study with Robert Lipsett at The Colburn School in Los Angeles, where he received his Bachelor of Music degree.

He then continued his studies at The Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.

London Philharmonic Orchestra | 7

Programme notes

Organ Spectacular This celebration of the organ begins with Bach’s famous Toccata and Fugue in D minor, one of the best known pieces for solo organ by the finest of composers for the instrument. (Or is it by him? – see below for the perhaps startling suggestion that it might not be.) Then the organ joins the orchestra for Saint-Saëns’s mighty Third Symphony of 1886, making its modest first appearance in the slow movement, but asserting itself more forcefully in the majestic finale, which binds together all the thematic strands of the work. Fauré’s orchestral Pavane, written in the same year, provides a gentle,

?Johann Sebastian Bach

lightly archaic interlude. And the concert ends with a rarity much prized by organ enthusiasts (and hi-fi buffs), the 1926/27 Symphonie concertante for organ and orchestra by the Belgian composer and organist Joseph Jongen. Here the organist is kept in play virtually throughout the work’s four movements, the first beginning with an austere fugue, the second a Divertimento largely in a lively seven beats to the bar, the third an expressive slow movement, and the last a virtuoso Toccata that lives up to its sub-title promising ‘perpetual motion’.

Adagio Toccata from and Fugue Spartacus in D minor for organ, BWV565 James O’Donnell organ

1685–1750

This Toccata and Fugue, with its grand rhetorical manner, is probably the best known of all solo organ pieces, and one of the best known of all Bach’s works.

So it may come as something of a shock to discover that for some time scholars have been querying whether it was originally an organ piece, and even whether it is by Bach at all. They suggest that its preponderance of single lines and bare octaves and its reliance on violinistic figuration may indicate that it was an arrangement of a piece for solo violin; and that its combination of the early 18th-century form of the toccata (a ‘touch’ piece to demonstrate a performer’s prowess or an instrument’s possibilities) with harmonies characteristic of the mid-18th century make it unlike anything else in Bach’s output. However, one respected figure in Bach scholarship, Christoph Wolff, upholds the traditional attribution. In his 2001 book Johann Sebastian Bach: The Learned Musician, 8 | London Philharmonic Orchestra

he links the piece with an early biographer’s account – which must have been based on the composer’s own reminiscences – of Bach’s youthful efforts as a ‘finger composer’ who liked ‘to run or leap up and down the instrument, to take both hands as full as all the five fingers will allow, and to proceed in this wild manner till they by chance find a resting place’.

Camille Saint-Saëns 1835–1921

At the beginning of 1886, Saint-Saëns embarked on a tour of Germany as conductor and pianist in his own works, but encountered protests and cancellations because of his well-publicised opposition to German music. He retreated to a small town in Austria, where he wrote his light-hearted Carnival of the Animals, but also worked on his last essay in the most Germanic – and, many then believed, least Gallic – of forms, that of the symphony. He continued to work on the score in Prague and Vienna, and completed it after his return home to Paris – where he played it through to his old friend and mentor Franz Liszt. The piece had been commissioned by the Philharmonic Society of London, Saint-Saëns having become a popular visitor here, and it was first performed under the composer’s direction on 19 May 1886 in the St James’s Hall (which stood near Piccadilly Circus). The following month, Liszt responded with pleasure to the news of the success of the premiere, correctly predicted an equally warm response to the work in Paris, and accepted its dedication. But he died at the end of July, and the published score is inscribed to his memory.

Saint-Saëns said that in the Third Symphony he had ‘given all that I had to give’; and indeed it is the most ambitious of all his concert works. The scoring is for large orchestra augmented by piano duet and organ, the latter contributing especially to a conclusion of sustained grandiosity (which has won the work its nickname of ‘Organ Symphony’). The timescale is

Symphony No. 3 in C minor, Op. 78 (Organ) James O’Donnell organ Adagio – Allegro moderato – Poco adagio Allegro moderato alternating with Presto – Maestoso – Allegro

correspondingly generous, though the usual four movements of the symphony are conflated into two parts, the first Allegro leading into the slow movement and the scherzo into the finale. These links are cemented, and the whole work drawn tightly together, by the use of recurring themes, transformed from one appearance to another in the manner pioneered by Liszt and later taken up by Wagner and César Franck.

Two of these ‘cyclic’ ideas alternate in the short slow introduction. But it is the first theme of the following Allegro moderato, a string melody in busy semiquavers which initially traces the first phrase of the funeral plainchant Dies irae, that is to prove the principal unifying factor of the whole work. Its urgent offbeat rhythms and, later, its melodic outline in an insistent rhythm permeate the first movement. Another rhythmic transformation appears on pizzicato strings in the middle section of the slow movement, an interlude between the first statement of a long, gradually unfolding melody and its soaring reprise. The principal theme also generates the two main ideas of the scherzo – which alternates with two faster trio sections, the second turning into a bridge to the finale. And the same protean theme is the source of the chorale that appears in the finale’s imposing introduction, of the subject of the fierce fugue that launches the movement’s main quick section, and of yet more transformations in the massive major-key peroration.

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

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Programme notes continued

Gabriel Fauré

Pavane, Op. 50

1845–1924

Fauré composed his Pavane for small orchestra in 1886, shortly before starting work on his well-known Requiem. The following year, he added an optional part for chorus, to specially written words by Count Robert de Montesquiou-Fezensac enacting the dalliance of nymphs and shepherds; but it is usually heard in its original version. The piece is in the moderately slow tempo of the Renaissance pavane, with an accompaniment of pizzicato strings suggesting

a guitar or lute. It has an opening section of wistful melody, a sterner middle section, and a subtly varied reprise of the opening. Towards the end of his life, Fauré incorporated the piece into his one-act divertissement Masques et Bergamasques, which suggests that he associated it with the Watteau-inspired setting of the divertissement, that of the leisured era of open-air aristocratic entertainments in pre-Revolutionary France.

Joseph Jongen

Symphonie concertante for organ and orchestra, Op. 81

1873–1953

Joseph Jongen was one of the leading Belgian musicians of his time. A native of Liège, the home city of César Franck, he had a multiple career: as a concert organist and pianist; as a conductor; as a composer, not only for his own instruments but also for orchestra and for many different chamber ensembles; and as an educator, notably as director of the Brussels Conservatoire from 1925 to 1939. It was early in this period, in the summers of 1926 and ’27, that he composed his Symphonie concertante for organ and orchestra. It had been commissioned for performance in the Grand Court of Wanamaker’s department store in Philadelphia, where the largest organ in the world was being created.

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James O’Donnell organ 1 2 3 4

Allegro, molto moderato Divertimento: Molto vivo Molto Lento: Lento misterioso Toccata (moto perpetuo): Allegro moderato

An enlargement of an instrument originally built for the 1904 World’s Fair in St Louis, it was to have six manuals and over 28,000 pipes. Unfortunately, the planned premiere at the organ’s re-inauguration in December 1927 or January 1928, which Jongen was to have conducted, had to be postponed because the instrument was not ready; the first performance took place instead at the Brussels Conservatoire in February 1928, with Jongen as soloist. Then Rodman Wanamaker, the head of the family firm, died, and the store’s concert series came to a stop. So, although Jongen played and conducted the work all over Europe, he never heard it on the extraordinary instrument for which it was intended.

The term Symphonie concertante indicates, in this context, a work with the four-movement outline of a symphony but including a concerto-like solo part.

The first movement has a traditional plan, with a first theme in the texture of a fugue, an expressive second theme in Debussy-like parallel chords, a development section with a resplendent climax, and a foreshortened reprise which holds back the fugue theme until nearly the end. The second movement is a scherzo, or as Jongen called it a Divertimento: it begins in a sprightly 7/4 time, which later alternates with more conventional, more sedate metres. The slow movement has an introduction recalling the shape of the opening idea of the Divertimento, which leads into a quiet, sighing melody for the upper strings; the middle section begins with an organ theme of parallel chords and reaches an impassioned climax, before the sighing melody returns on woodwind and horns. The finale is a Toccata, which lives up to its sub-title ‘Perpetual motion’ with the organ’s continuous whirling semiquavers, accompanying a series of melodic ideas in different orchestral colourings; eventually the barrage of semiquavers pauses for a moment, only to be resumed in the triumphant coda.

Programme notes © Anthony Burton

‘Let me tell you how much this old musician’s heart, Walloon moreover, was conquered, gladdened and greatly moved by your new symphony. … It is a chef d’oeuvre, a monument that pays tribute to our whole country and to Wallonia in particular. … Yes! it is gripping, varied, most personal, rich in colour, full of amazing harmonies, delightful; it has a new manner in that it remains elegant, without violent contrasts. … it speaks, expresses, sings, interests constantly, arouses the enthusiasm… ‘ Eugène Ysaÿe, the eminent Belgian violinist (and a fellow-native of Liège), writing to Jongen in February 1928 after the premiere of the Symphonie concertante (translated in John Scott Whiteley’s Joseph Jongen and his Organ Music)

Recommended recordings of tonight’s works Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer.

J S Bach: Toccata and Fugue in D minor Simon Preston (Deutsche Grammophon) or Peter Hurford (Decca) Saint-Saëns: Symphony No. 3 (Organ) London Philharmonic Orchestra | Yannick Nézet-Séguin (LPO Label LPO-0081: see below) Fauré: Pavane BBC Philharmonic Orchestra | Yan Pascal Tortelier (Chandos) Jongen: Symphonie concertante Deutsche Philharmonie Saarbrucken | Martin Haselbock (CPO)

Saint-Saëns’s Symphony No. 3 on the LPO Label Poulenc Concerto in G minor for Organ, Strings and Timpani Saint-Saëns Symphony No. 3 in C minor (Organ) Yannick Nézet-Séguin conductor James O’Donnell organ London Philharmonic Orchestra LPO-0081 | £9.99 Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Download or stream online via iTunes, Spotify, Amazon and others

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be m ov e d Next concerts at Southbank Centre’s Royal Festival Hall

saturday 27 january 2018 6.00pm please note start time

saturday 3 february 2018 7.30pm

wednesday 7 february 2018 7.30pm

A Golden Gala Evening: Wagner Das Rheingold

Rimsky-Korsakov Fairy Tale Glazunov Violin Concerto Tchaikovsky (arr. Glazunov) Meditation from Souvenir d’un lieu cher Stravinsky Faun and Shepherdess Stravinsky Symphony No. 1

Stravinsky Scherzo fantastique Stravinsky Funeral Song Rimsky-Korsakov Piano Concerto Stravinsky The Firebird (original version)

Vladimir Jurowski conductor Soloists including Sofia Fomina, Michelle DeYoung, Anna Larsson, Matthias Goerne & Matthew Rose For more details visit lpo.org.uk/vj10 Generously supported by members of the Orchestra’s Ring Cycle Syndicate and patrons of our Golden Gala Evening.

Vladimir Jurowski conductor Alexander Ghindin piano

Vladimir Jurowski conductor Kristóf Baráti violin Angharad Lyddon mezzo-soprano

Book now at lpo.org.uk or call 020 7840 4242 Season discounts of up to 30% available

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Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra | 13

Thank you

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

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

Artistic Director’s Circle An anonymous donor Victoria Robey OBE Orchestra Circle The Tsukanov Family Principal Associates An anonymous donor The Candide Trust Alexander & Elena Djaparidze Mr & Mrs Philip Kan Mr & Mrs Makharinsky Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Dr James Huang Zheng (of Kingdom Music Education Group)

Associates Steven M. Berzin Gabor Beyer Kay Bryan William & Alex de Winton Virginia Gabbertas Oleg & Natalya Pukhov George Ramishvili Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre Gilly de Varennes de Bueil Hamish & Sophie Forsyth Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan

Geoff & Meg Mann Tom & Phillis Sharpe The Viney Family Laurence Watt Guy & Utti Whittaker Silver Patrons Michael Allen Mrs Irina Gofman David Goldberg Mr Gavin Graham Pehr G Gyllenhammar Catherine Høgel & Ben Mardle Matt Isaacs & Penny Jerram Rose & Dudley Leigh Mrs Elizabeth Meshkvicheva The Metherell Family Mikhail Noskov & Vasilina Bindley Jacopo Pessina Brian & Elizabeth Taylor Bronze Patrons Anonymous donors Dr Christopher Aldren Mrs Margot Astrachan Mrs A Beare Richard & Jo Brass Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Richard Buxton John Childress & Christiane Wuillaimie Mr Geoffrey A Collens Mr John H Cook Bruno De Kegel Georgy Djaparidze David Ellen Ulrike & Benno Engelmann Ignor & Lyuba Galkin Mr Daniel Goldstein Mr Roger Greenwood Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home

14 | London Philharmonic Orchestra

Mr Glenn Hurstfield Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Anonymous Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein Mrs Anne Storm Sergei & Elena Sudakov Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Principal Supporters An anonymous donor Ralph & Elizabeth Aldwinckle Roger & Clare Barron Mr Geoffrey Bateman David & Patricia Buck Dr Anthony Buckland Desmond & Ruth Cecil Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Peter Cullum CBE Mr Timonthy Fancourt QC Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Mr Raphaël Kanzas

Rehmet Kassim-Lakha de Morixe Mr Colm Kelleher Peter Kerkar Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Peter Mace Brendan & Karen McManus Kristina McPhee Andrew T Mills Randall & Maria Moore Dr Karen Morton Olga Pavlova Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Tatiana Pyatigorskaya Mr Christopher Queree Martin & Cheryl Southgate Matthew Stephenson & Roman Aristarkhov Mr Christopher Stewart Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney DBE Mr David Devons Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer Sabina Fatkullina

Mrs Janet Flynn Christopher Fraser OBE The Jackman Family Mrs Irina Tsarenkov Mr David MacFarlane Mr John Meloy Mr Stephen Olton Robin Partington Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw Ms Natalie Spraggon Michael & Katie Urmston Damien & Tina Vanderwilt Timothy Walker AM Mr John Weekes Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (Hong Kong) Olivia Ma (Taiwan) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China)

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: William A. Kerr Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee David Oxenstierna Natalie Pray Stephanie Yoshida Anthony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners Giberg Goldman Sachs Pictet Bank White & Case LLP Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce

Bronze Accenture Ageas Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Fevertree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company

Adam Mickiewicz Institute Newcomen Collett Foundation The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

London Philharmonic Orchestra | 15

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Al MacCuish Susanne Martens* George Peniston* Natasha Tsukanova Mark Vines* Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Project Manager

Archives

Tom Proctor PA to the Chief Executive / Administrative Assistant

Emily Moss Education and Community Project Manager

Gillian Pole Recordings Archive

Finance Frances Slack Finance and Operations Manager

Development Nick Jackman Development Director

Dayse Guilherme Finance Officer

Catherine Faulkner Development Events Manager

Concert Management Roanna Gibson Concerts Director (maternity leave)

Laura Willis Corporate Relations Manager

Liz Forbes Concerts Director (maternity cover)

Anna Quillin Trusts and Foundations Manager

Graham Wood Concerts and Recordings Manager

Ellie Franklin Development Assistant

Sophie Richardson Tours Manager Tamzin Aitken Glyndebourne and UK Engagements Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter Tours Co-ordinator Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians Christopher Alderton Stage Manager Damian Davis Transport Manager Madeleine Ridout Orchestra Co-ordinator and Auditions Administrator Andy Pitt Assistant Transport/Stage Manager

16 | London Philharmonic Orchestra

Rosie Morden Individual Giving Manager

Athene Broad Development Assistant Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Libby Papakyriacou Marketing Manager Samantha Cleverley Box Office Manager (maternity leave) Megan Macarte Box Office Manager (maternity cover) (Tel: 020 7840 4242) Rachel Williams Publications Manager Harriet Dalton Website Manager Greg Felton Digital Creative Alexandra Lloyd Marketing Co-ordinator Oli Frost Marketing Assistant

Philip Stuart Discographer

Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Composer photographs courtesy of the Royal College of Music, London.

Cover artwork Ross Shaw Printer Cantate