LPO concert programme: 19 Oct 2022 - Canellakis conducts Brahms (Karina Canellakis/Emanuel Ax)

2022/23 concert season at the Southbank Centre

Concert programme Where music takes you

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 19 October 2022 | 7.30pm

Contents

Canellakis conducts Brahms

3 4

Dvořák The Wild Dove (19’)

5 6 7 8 12

Brett Dean Three Memorials (21’) Interval (20’) Brahms Piano Concerto No. 1 in D minor, Op. 15 (42’)

Karina Canellakis conductor Emanuel Ax piano Generously supported by Cockayne – Grants for the Arts and The London Community Foundation.

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

Concert presented by the London Philharmonic Orchestra

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13 14 16

Welcome LPO news On stage tonight London Philharmonic Orchestra Leader: Pieter Schoeman Karina Canellakis Emanuel Ax Programme notes Recommended recordings Next concerts Sound Futures donors Thank you LPO administration

London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

Welcome

LPO news New on the LPO Label

Welcome to the Southbank Centre

Last month saw our release of Tippett’s The Midsummer Marriage on the LPO Label – the first commercial recording of the opera in over 50 years.

It was recorded live at the Royal Festival Hall on the opening night of the LPO’s 2021/22 season, which also marked Edward Gardner’s first concert as Principal Conductor. The cast includes Robert Murray, Rachel Nicholls, Ashley Riches, Jennifer France, Toby Spence, the London Philharmonic Choir and the English National Opera Chorus. As well as being available to stream or download on all the major platforms, the release is also available from all good retailers as a premium three-CD box set.

We hope you enjoy your visit. We have a Duty Manager available at all times. If you need any information or help, please ask a member of staff.

Eating, drinking and shopping? Take in the views over food and drinks at the Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our great cultural experiences, iconic buildings and central London location.

Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Spiritland, wagamama and Wahaca.

If you would like to get in touch with us following your visit, please write to: Visitor Contact Team, Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk

Supported by the Michael Tippett Musical Foundation in memory of Dennis Marks

We look forward to seeing you again soon.

LPO Conducting Fellowship

A few points to note for your comfort and enjoyment:

We’re delighted to invite applications to our new LPO Conducting Fellowship for the 2023/24 season.

This flagship programme offers a unique opportunity to two outstanding early-career conductors from backgrounds currently under-represented in conductors of professional orchestras.

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 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.

We believe that talent is indiscriminate, yet people from certain backgrounds and communities continue to be under-represented in the orchestral sector. The Fellowship aims to promote diversity and inclusivity in classical music as a whole, to lead eventually to a sector more reflective of the wider population. We invite applications from conductors from historically underrepresented communities in terms of gender identity, race, socio-economic background, neurodiversity, disability or other under-represented groups.

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

Guided by the LPO’s Principal Conductor, Edward Gardner, Fellow Conductors will become fully immersed in the life of the Orchestra, developing skills and knowledge, and broadening their professional network.

They will be invited to attend rehearsals and concerts, and will be offered conducting opportunities with the LPO and its rising talent ensembles.

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 deadline to apply is 9am this Friday, 21 October 2022. For more information visit www.lpo.org.uk/lpo-conducting-fellowship.html

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London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

On stage tonight First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Alice Ivy-Pemberton Lasma Taimina

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

Minn Majoe Katalin Varnagy

Chair supported by Sonja Drexler

Alice Apreda Howell Cassi Hamilton Yang Zhang

Chair supported by Eric Tomsett

Fanny Fheodoroff Martin Höhmann Catherine Craig Nilufar Alimaksumova Alice Hall Ronald Long Kay Chappell Gabriela Opacka

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Emma Oldfield Co-Principal Helena Smart Kate Birchall Joseph Maher Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Claudia Tarrant-Matthews Sioni Williams Sarah Thornett Sheila Law Lyrit Milgram Jamie Hutchinson Charlie MacClure

Violas

Richard Waters Principal

Chair supported by Caroline, Jamie & Zander Sharp

Raquel López Bolívar Benedetto Pollani Stanislav Popov Martin Wray Kate De Campos Laura Vallejo

Toby Warr Katharine Leek Pamela Ferriman Julia Doukakis Anita Kurowska

Cor Anglais

Cellos

Benjamin Mellefont

Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets Principal

Kristina Blaumane Principal

Thomas Watmough

Chair supported by Bianca & Stuart Roden

Chair supported by Roger Greenwood

Pei-Jee Ng Co-Principal

Chair supported by The Candide Trust

Francis Bucknall Sue Sutherley Leo Melvin Helen Thomas George Hoult Iain Ward Auriol Evans Hee Yeon Cho

Tuba

Chair supported by Roger Greenwood

Timpani

Bass Clarinets

Chair supported by Victoria Robey OBE

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal Annemarie Federle Guest Principal

Katherine Bicknell Ian Mullin Camilla Marchant

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Jason Koczur

Oboes

Trumpets

Paul Beniston* Principal Holly Clark Guest Principal Anne McAneney* David Hilton

Piccolo Trumpet Paul Beniston*

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Bass Trombone

Chair supported by Friends of the Orchestra

Dominic Tyler Simon Estell*

Ian Hardwick* Principal Alice Munday Emily Stephens Sue Böhling*

David Whitehouse

Lee Tsarmaklis* Principal

Chair supported by Sir Simon Robey

Piccolos

Chair supported by William & Alex de Winton

Thomas Watmough

Jonathan Davies Principal

Juliette Bausor Principal Camilla Marchant Ian Mullin Katherine Bicknell

Mark Templeton* Principal

E-flat Clarinet

Bassoons

Flutes

Trombones

Lyndon Meredith Principal

Paul Richards* Principal James Maltby

Sebastian Pennar Principal Hugh Kluger George Peniston Laura Murphy Charlotte Kerbegian Adam Wynter Sam Rice Gabriel Rodrigues

David Whitehouse

James Maltby Paul Richards*

Principal

Double Basses

Bass Trumpet

Simon Carrington* Principal

Percussion

Andrew Barclay* Principal Chair supported by Garf & Gill Collins

Keith Millar Oliver Yates Laura Bradford Richard Horne Sarah Mason Karen Hutt

Harps

Rachel Masters Principal Tamara Young

Piano

Philip Moore

Celeste/Harmonium Catherine Edwards

Assistant Conductor John Warner

* Holds a professorial appointment in London

London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

© Mark Allan

London Philharmonic Orchestra

Our conductors

Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. With every performance we aim to bring wonder to the modern world and cement our position as a leading orchestra for the 21st century.

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur.

In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade.

Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Brett Dean our Composer-in-Residence.

Our home is here at the Southbank’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life.

You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Soundtrack to key moments Everyone will have heard the London Philharmonic Orchestra, whether it’s playing the world’s National Anthems at every medal ceremony of the London 2012 Olympics and Paralympics, our iconic recording with Pavarotti that made Nessun Dorma a global football anthem, or closing the flotilla at The Queen’s Thames Diamond Jubilee Pageant. And you’ll almost certainly have heard us on the soundtracks for major films including The Lord of the Rings.

Sharing the wonder We’re always at the forefront of technology, finding new ways to share our music globally. You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 we’ll be working once again with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include music by Richard Strauss under Klaus Tennstedt with legendary soprano Jessye Norman; the first volume of a Stravinsky series with Vladimir Jurowski including The Rite of Spring

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London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

Pieter Schoeman Leader

and The Firebird; and Tippett’s complete opera The Midsummer Marriage under Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021 (see page 2).

We’re committed to inspiring the next generation of musicians and music-lovers: there’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training.

Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities.

© Benjamin Ealovega

Next generations

Today’s young instrumentalists are the orchestral members of the future, so we’re committed to offering them opportunities to progress. Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers.

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, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

2022/23 and beyond We believe in the relevance of our music, and that our programmes must reflect the narratives of modern times. This season we’re exploring themes of belonging and displacement in our series ‘A place to call home’, delving into music by composers including Austrians Erich Korngold and Paul Hindemith, Hungarian Béla Bartók, Cuban Tania León, Ukrainian Victoria Vita Polevá and Syrian Kinan Azmeh. As we celebrate our 90th anniversary we perform works premiered by the Orchestra during its illustrious history. This season also marks Vaughan Williams’s 150th anniversary and we’ll be celebrating with four of his works, as well as both symphonies by Elgar and music by Tippett and Thomas Adès. Our commitment to everything new and creative includes premieres by Brett Dean, Mark Simpson and Heiner Goebbels, as well as new commissions from composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.

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.

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

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

lpo.org.uk

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London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

Karina Canellakis Principal Guest Conductor, London Philharmonic Orchestra

© Mathias Bothor

Amsterdam and TivoliVredenburg in Utrecht with the Netherlands Radio Philharmonic Orchestra, where she holds the title of Chief Conductor. After the great success of Kat’a Kabánova last season, she brings another Janáček opera, The Cunning Little Vixen, to the stage of the Concertgebouw in April 2023. On the opera stage she has also conducted critically acclaimed productions of Tchaikovsky’s Eugene Onegin; Mozart’s Don Giovanni, Die Zauberflöte and Le nozze di Figaro; David Lang’s the loser; and Peter Maxwell Davies’s The Hogboon.

Since winning the Sir Georg Solti Conducting Award in 2016, Karina has become a guest conductor with leading orchestras around the world including the London Symphony Orchestra, Cleveland Orchestra, Chicago Symphony, Gewandhausorchester Leipzig, NDR Elbphilharmonie Orchestra, Orchestre Symphonique de Montréal, Munich Philharmonic, and the symphony orchestras of Melbourne, Sydney, Toronto, Cincinnati, Minnesota, Detroit and Vienna.

She was the first woman to conduct the First Night of the BBC Proms in London in 2019, with the BBC Symphony Orchestra. She was also the first woman to ever conduct the Nobel Prize Concert with the Royal Stockholm Philharmonic in 2018.

Internationally acclaimed for her emotionally charged performances, technical command and interpretive depth, Karina Canellakis has become one of the most in-demand conductors of her generation. She became the London Philharmonic Orchestra’s Principal Guest Conductor in September 2020, and her performances with the Orchestra in her first season led to one critic recounting the ‘explosive chemistry between this conductor and orchestra’, while another described ‘a musical partnership that looks set to be one of the most exciting and rewarding in London’. Karina is also Chief Conductor of the Netherlands Radio Philharmonic Orchestra, and Principal Guest Conductor of the Rundfunk-Sinfonieorchester Berlin (RSB).

Already known to many in the classical music world for her virtuoso violin playing, Karina was initially encouraged to pursue conducting by Sir Simon Rattle while she was playing regularly in the Berlin Philharmonic for two years as a member of its Orchester-Akademie. She performed for many years as a soloist, guest leader and chamber musician, spending her summers at the Marlboro Music Festival, until conducting eventually became her focus. Karina was born and raised in New York City.

In the 2022/23 season Karina is looking forward to exciting debuts with the New York Philharmonic, National Symphony Orchestra and Pittsburgh Symphony. After starting her season at the BBC Proms, she also returns to the Orchestre de Paris, the Boston and Dallas symphony orchestras, The Philadelphia Orchestra and the San Francisco Symphony, as well as the Bavarian Radio Symphony Orchestra.

As Principal Guest Conductor of the London Philharmonic Orchestra, she will be be joined this season by pianist Daniil Trifonov and violinist Augustin Hadelich for concertos by Prokofiev and Sibelius, as well as pouring her energy and insight into Beethoven’s ‘Eroica’ Symphony and Tchaikovsky’s Fifth. Next March she will embark on an extensive tour of Germany’s most prestigious concert halls with the Orchestra and soloist Daniil Trifonov. She also returns to Berlin for concerts in her position as Principal Guest Conductor of the RSB. Karina continues to present exciting modern pieces as well as well-known masterpieces at the Concertgebouw

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London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

Emanuel Ax piano

recordings with Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. In the 2004/05 season he contributed to an International Emmy Award-Winning BBC documentary commemorating the Holocaust, which aired on the 60th anniversary of the liberation of Auschwitz. In 2013 his recording ‘Variations’ received the Echo Klassik Award for Solo Recording of the Year (19th-century Music/Piano). © Lisa Marie Mazzucco

Emanuel Ax is a Fellow of the American Academy of Arts and Sciences, and holds honorary doctorates of music from Skidmore College, New England Conservatory of Music, Yale University and Columbia University.

Born to Polish parents in what is today the Ukrainian city of Lviv, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. He made his New York debut in the Young Concert Artists Series, and in 1974 won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the Avery Fisher Prize.

In autumn 2021 Ax resumed a post-COVID touring schedule that included concerts with the Colorado, Pacific, Cincinnati and Houston symphonies, as well as the Minnesota, Los Angeles, New York, Philadelphia and Cleveland orchestras. 2022/23 includes a tour with Itzhak Perlman and Friends, and a continuation of the ‘Beethoven For 3’ touring and recording project with violinist Leonidas Kavakos and cellist Yo-Yo Ma, this year on the West Coast. In recital he can be heard in Palm Beach, Los Angeles, St Louis, Chicago, Washington DC, Houston, Las Vegas and New York, and with orchestras in Atlanta, Detroit, Boston, San Francisco, San Diego, New York, Naples, Portland, Toronto, Philadelphia, Pittsburgh and Cleveland.

European tours this autumn and and in spring 2023 include concerts in the UK, Germany, Switzerland and France.

Emanuel Ax has been a Sony Classical exclusive recording artist since 1987 and, following the success of the Brahms Trios with Kavakos and Ma, the trio launched an ambitious, multi-year project to record all the Beethoven Trios and Symphonies arranged for trio, the first two discs of which have recently been released.

He has received Grammy Awards for the second and third volumes of his cycle of Haydn’s piano sonatas.

He has also made a series of Grammy-winning

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London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

Programme notes Antonín Dvořák 1841–1904

The Wild Dove, Op. 110 1896

For most of his mature career Antonín Dvořák managed to sustain a skilful artistic tightrope act. The music of his Bohemian (today Czech) homeland was precious to him, and he continually sought new ways of incorporating its flavoursome characteristics into his own style: up to a point he could be described as a nationalist. But unlike the really hard-line nationalists of his day he also venerated the great German classicromantic Johannes Brahms; and like his hero, and enthusiastic supporter, Dvořák concentrated a lot of his attention on the established ‘classical’ forms: symphonies, string quartets, conventional religious choral works and two magnificent concertos. If the nationalists would regard all this with suspicion, so too would the modernists – the followers of Richard Wagner and Franz Liszt. For these selfstyled ‘progressives’, writing in classical forms was a hopelessly moribund way of thinking: there could be no such thing as ‘absolute’ or ‘abstract’ composition; music only functioned at the height of its powers when it was reunited with other arts – as, for instance, in the Lisztian ‘symphonic poem’, where music was contrived to illustrate stories, paint scenes, or even convey philosophical ideas.

The Wild Dove (or ‘Wood Dove’) – one of four substantial symphonic poems Dvořák produced in 1896 – is a prime example, transforming its dark story into a haunting, atmospheric musical drama. The Wild Dove is based on a ballad by the influential Czech folklorist Karel Jaromír Erben. In the ballad, a young woman poisons her husband, putting on a spectacular display of grief at his funeral. She then falls for a handsome young man, to whom she’s soon married with plenty of ostentatious celebration. But the eerie, plaintive cooing of a dove stirs her guilty conscience, and eventually, in a fit of remorse, she kills herself.

Dvořák’s musical retelling begins with funeral music (sombre, martial brass and timpani with lamenting melodies for flutes and violins), in which the feigned sobs of the widow can also be heard (again flutes and violins, in weird chromatic falling figures). The comely youth appears (distant trumpets, woodwind and harp, with a sinister colouring provided by bass clarinet), while the dove’s song hovers, as yet unheeded, on flute. Wild wedding festivities follow, eventually subsiding into gentler, more intimate dance music.

However, hushed string tremolos introduce the chilling dove-call (flutes, oboe and fluttering high harp), and anguished crescendos illustrate the widow’s pangs of guilt and eventual self-destruction. But unlike the poet Erben, Dvořák doesn’t stop there: an elegiac string coda is followed by hymn-like woodwind chords, and finally a widely spaced major-key chord on strings suggests atonement and benediction, with the dove’s call now sounding calmly on flutes and harp. Is the dove the voice of the murdered husband, or simply natural justice? Either way, it seems to have been appeased.

So when, in 1896, Dvořák suddenly produced a flood of symphonic poems, there was astonishment in some quarters. What on earth was Brahms’s most famous protégé doing writing things like these? Could the fact that Brahms was now mortally ill have been influential – with his father-figure effectively leaving the stage, did Dvořák now feel free to explore new fields? Or was it the effect of his triumphant American sojourn, and the hero’s welcome he received on his return to Europe in 1895? Whatever, the enthusiasm and delight with which Dvořák approached the medium is audible in all four of these works. Dvořák had in fact produced three semiprogrammatic ‘overtures’ already under the heading ‘Nature, Life and Love’ back in 1892. But in these new, openly symphonic-poetic works the element of musical storytelling acquires a new richness and vitality.

One other point of interest: The Wild Dove had its first performance in 1898 in Brno, under the baton of a then little-known composer named Leoš Janáček.

Programme note © Stephen Johnson

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London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

Programme notes Brett Dean born 1961

LPO Composer-in-Residence

Three Memorials 2001–06

1 Dispersal (2001) 2 Ceremonial (2003) 3 Komarov’s Fall (2006) A composer profile is on the next page.

Ceremonial was conceived as memorial music in the aftermath of the Bali bombing by Islamist terrorists in October 2002. The prominent role accorded to tuned percussion, particularly gongs, pays musical homage to the moving traditional ceremonies held on Bali following that tragedy which claimed the lives of over 200 people, including 88 Australians.

Three Memorials is made up of three sombre yet dramatic works which were originally commissioned as single, stand-alone movements: Dispersal for the Adelaide Symphony Orchestra’s ‘Federation Fanfare’ series in 2001 and the BBC Symphony’s Australian tour in 2002; Ceremonial for the 75th anniversary of the West Australian Symphony in 2003; and Komarov’s Fall for the Berlin Philharmonic’s ‘Ad Astra’ project in 2006.

As a set of three pieces it was first performed in Cardiff by the BBC National Orchestra of Wales under André de Ridder as part of the 2009 Vale of Glamorgan Festival. Each piece is scored for a similarly large orchestra and, as the grouped title indicates, is written in memory, either of an individual or of groups of people against whom violent acts and injustices have been perpetrated across three different centuries.

Komarov’s Fall memorialises Vladimir Mikhailovich Komarov, the first person to die in space aboard the ill-fated Soyuz 1, a project plagued by serious problems but whose launch in April 1964 took place nevertheless in order to coincide with Lenin’s birthday. The work starts with the eerie vastness one senses from listening to space telemetry signals, however it was the chance finding of an archival recording of Komarov’s last frantic radio transmissions with ground control that informed the jagged urgency of the ensuing music. A brief lyrical section in the middle of the work was inspired by the final words shared between Komarov and his wife Valentina. On the Soyuz’s final orbit, she was invited into the control centre to bid farewell, so certain were all concerned of the impending doom.

‘Dispersal’, in colonial Australian parlance, was a widely used euphemism for the pursuit and slaughter of indigenous Australians. Specifically the work pays homage to the victims of a massacre at Murdering Creek in Queensland in the 1860s. The quotation on distant harmonium at the end is of Parry’s hymn tune ‘Intercessor’ which traditionally accompanies the American poem ‘O brother man, fold to thy heart thy brother’.

Programme note © Brett Dean, 2022

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

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London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

Brett Dean Composer-in-Residence, London Philharmonic Orchestra LPO partnership

2022/23 season

Australian composer Brett Dean became the LPO’s Composer-in-Residence for three years from September 2020. The Orchestra worked closely with Dean on his opera Hamlet, which was premiered at Glyndebourne Festival Opera in 2017 to great acclaim, winning both the 2018 South Bank Sky Arts Award and the International Opera Award for Best New Opera.

During his LPO residency he also takes on the role of Composer Mentor to the LPO Young Composers Programme, providing guidance and expertise to the five rising stars and conducting their annual Debut Sounds showcase.

Last month saw the world premiere of In this Brief Moment for double chorus and orchestra, performed at Birmingham’s Symphony Hall by the CBSO & Chorus under Nicholas Collon; the work was commissioned by the Orchestre National de Lyon, Sydney Philharmonia Choirs and the CBSO. Later this season Dean conducts the Swedish Chamber Orchestra and soprano Jennifer France in two recorded concerts at Örebro Concert Hall, including performances of his own composition And once I played Ophelia. Further premieres this season include the Australian premiere of the piano concerto Gneixendorf Music; A Winter’s Journey with the Melbourne Symphony Orchestra; the world premiere of a new work for the Bavarian State Orchestra; and the German premiere of In This Brief Moment with the NDR Elbphilharmonie Orchestra. Dean’s critically acclaimed opera Hamlet will also return for a run of performances at the Bayerische Staatsoper in May 2023.

In December 2020 the LPO and Vladimir Jurowski gave the UK premiere of Dean’s The Players for orchestra and accordion, filmed at the Royal Festival Hall, broadcast and still available to watch on Marquee TV. On 9 February 2022 the Orchestra performed Dean’s Viola Concerto with soloist Lawrence Power. The 2022/23 season with the LPO sees a performance of his Amphitheatre (18 January 2023) and the world premiere of In spe contra spem under Edward Gardner, with soloists Emma Bell and Elsa Dreisig (26 April 2023).

Background and music Brett Dean began composing in 1988, initially concentrating on experimental film and radio projects and as an improvising performer. His reputation as a composer continued to develop, and it was through works such as his clarinet concerto Ariel’s Music (1995), which won an award from the UNESCO International Rostrum of Composers, and Carlo (1997) for strings, sampler and tape, inspired by the music of Carlo Gesualdo, that he gained international recognition.

© Bettina Stoess

Dean enjoys a busy performing career as violist and conductor, performing his own Viola Concerto with the world’s leading orchestras. He is a natural chamber musician, frequently collaborating with other soloists and ensembles to perform both his own chamber works and standard repertoire. Dean’s imaginative conducting programmes usually centre around his own works combined with other composers: highlights include his appointment as Creative Chair at the TonhalleOrchester Zürich 2017/18; projects with the BBC Symphony, BBC Philharmonic, Berlin Philharmonic, Los Angeles Philharmonic, Melbourne Symphony, Sydney Symphony, Gothenburg Symphony, Toronto Symphony, Concertgebouw Orchestra, Orchestre National de Lyon and Tonkünstler-Orchester; and as Artist-in-Residence with the Swedish Chamber Orchestra.

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London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

Programme notes Johannes Brahms 1833–97

Piano Concerto No. 1 in D minor, Op. 15 1858

Emanuel Ax piano 1 Maestoso 2 Adagio 3 Rondo: Allegro non troppo The D minor Piano Concerto is Brahms’s first orchestral work, composed in his early twenties. That it took him four years to complete is probably due partly to inexperience and partly to his uncertainty of mind during a traumatic period caused by the attempted suicide, mental illness and eventual death in 1856 of his friend and mentor Robert Schumann. Shortly after the first of these incidents, in 1854, Brahms began work on a sonata for two pianos, but soon started converting the piece to a four-movement symphony.

Growing dissatisfaction with this version, however, led him to hit on the idea of combining both to form a piano concerto; the first movement was recast, but the others abandoned and new second and third movements composed in their place. The work was finished in 1858, and the premiere given early the following year in Hanover with Brahms as soloist.

Bachian first entry and the richly chordal delivery of the second subject. This allows the most dramatic stroke of the movement to be the moment of recapitulation, when the piano for the first time takes up the turbulent opening theme, thundering it out over the same held Ds in the bass, but now cast into the disorientatingly darkening key of E major.

In his autograph score of the Adagio, Brahms wrote words from the Latin Mass under the calmly mystical opening: ‘Benedictus qui venit in nomine Domini’ (‘Blessed is he who comes in the name of the Lord’).

He left no further explanation, and there has been speculation (not otherwise supported) that the theme was once intended for a Mass setting. Less equivocally, Brahms had been in the habit of addressing Schumann as ‘Domine’ and had privately told Schumann’s widow Clara that he was ‘painting a lovely portrait of you’, but whether connected to the Schumanns or not, this glorious music certainly appears moved by emotions as profound and heartfelt as those that inspired the first movement.

If the first movement was born of a mixture of compromise and second thinking, it is not evident in the final result, unless it be in the fact that it displays a spectacular symphonic grandeur and expressive strength that had not been present in the concerto genre (nor even, in truth, in the symphony) since Beethoven, and that the piano part, though certainly taxing, is not principally driven by virtuosity as an end but plays a role effectively integrated with that of the orchestra. The grim Sturm und Drang passion of the movement as a whole, and of its opening theme in particular, may well owe something to the Schumann situation, but there are consoling moments, too, in this richly thematic sonata design, many of them memorably associated with the soloist, such as the

The symphonic drama of that first movement is not an easy force to summon again within the necessarily altered atmosphere of a finale, and Brahms’s choice of rondo form – in which a principal theme returns several times separated by contrasting episodes – is perhaps not the most obvious way to attempt it. Several commentators over the years have drawn attention to structural parallels between Brahms’s finale and that of Beethoven’s Third Piano Concerto – including the manner in which the main theme is presented, the

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London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

Programme notes extravagant piano lead-backs and the central fugato episode – but the way the demonic energy of the opening movement is here successfully recalled while at the same time finding a lighter and more optimistic trajectory surely has a spiritual model in the finale of another great D minor piano concerto, Mozart’s K466.

Recommended recordings of tonight’s works

by Laurie Watt

Programme note © Lindsay Kemp

Dvořák: The Wild Dove Czech Philharmonic Orchestra | Jiří Bělohlávek (Chandos) Brett Dean: Komarov’s Fall, from Three Memorials Hugh Wolff | Sydney Symphony Orchestra (BIS) or Simon Rattle | Berlin Philharmonic (EMI) Brahms: Piano Concerto No. 1 Stephen Kovacevich | London Philharmonic Orchestra| Wolfgang Sawallisch (Warner

Next concerts at the Southbank Centre’s Royal Festival Hall CANELLAKIS CONDUCTS BEETHOVEN

VISIONS OF ENGLAND

Wednesday 26 October 2022, 7.30pm

Friday 21 October 2022, 7.30pm

Vaughan Williams Fantasia on a Theme by Thomas Tallis Tom Coult Violin Concerto: ‘Pleasure Garden’ (London premiere) Vaughan Williams The Lark Ascending Vaughan Williams Symphony No. 9

Sibelius Violin Concerto Beethoven Symphony No. 3 (Eroica) Karina Canellakis conductor Augustin Hadelich violin

Andrew Manze conductor Daniel Pioro violin

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London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

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 KC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation The Rind Foundation Sir Bernard Rix David Ross & Line Forestier (Canada)

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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 • 19 October 2022 • Canellakis conducts Brahms

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 Aud Jebsen In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

Orchestra Circle

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

Principal Associates

Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Sally Groves MBE George Ramishvili

Associates

Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin Ms Veronika BorovikKhilchevskaya The Candide Trust Irina Gofman & Mr Rodrik V. G. Cave Patricia Haitink The Lambert Family Charitable Trust Countess Dominique Loredan Stuart & Bianca Roden In memory of Hazel Amy Smith The Tsukanov Family The Viney Family

Gold Patrons

An anonymous donor Chris Aldren David & Yi Buckley In memory of Allner Mavis Channing Sonja Drexler Jan & Leni Du Plessis The Vernon Ellis Foundation Peter & Fiona Espenhahn Hamish & Sophie Forsyth Mr Roger Greenwood Malcolm Herring

Mr & Mrs Ralph Kanza Mrs Elena & Mr Oleg Kolobov Rose & Dudley Leigh Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Drs Frank & Gek Lim Mr Nicholas Little Geoff & Meg Mann Mrs Elizabeth Meshkvicheva Andrew T Mills Peter & Lucy Noble Mr Roger Phillimore Mr Michael Posen Mr Anthony Salz Ms Nadia Stasyuk Charlotte Stevenson Joe Topley Mr & Mrs John C Tucker Timothy Walker CBE AM Jenny Watson CBE Grenville & Krysia Williams

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Dame Colette Bowe David Burke & Valerie Graham John & Sam Dawson Bruno De Kegel Ulrike & Benno Engelmann Virginia Gabbertas MBE Dmitry & Ekaterina Gursky The Jeniffer & Jonathan Harris Charitable Trust Catherine Høgel & Ben Mardle Sir George Iacobescu Jamie & Julia Korner Mr & Mrs Makharinsky Mr Nikita Mishin Andrew Neill Tom & Phillis Sharpe Mr & Mrs John & Susi Underwood Laurence Watt Grenville & Krysia Williams

Principal Supporters

Anonymous donors Dr Manon Antoniazzi Julian & Annette Armstrong Mr John D Barnard Mr Geoffrey Bateman Mr Philip Bathard-Smith Mrs A Beare Dr Anthony Buckland Dr Simona Cicero & Mr Mario Altieri Mr Peter Coe Mrs Pearl Cohen David & Liz Conway Mr Alistair Corbett Ms Mary Anne Cordeiro Ms Elena Dubinets Mr Richard Fernyhough Jason George Mr Christian Grobel Prof Emeritus John Gruzelier Mark & Sarah Holford Mrs Maureen Hooft-Graafland Per Jonsson Mr Ian Kapur Ms Kim J Koch Ms Elena Lojevsky Mrs Terry Neale John Nickson & Simon Rew Oliver & Josie Ogg Ms Olga Ovenden Mr James Pickford Filippo Poli Sir Bernard Rix Mr Robert Ross Priscylla Shaw

Bronze Patrons

Anonymous donors Michael Allen Mr Mark Astaire Nicholas & Christine Beale Mikhail Noskov & Vasilina Bindley Mr Anthony Blaiklock Lorna & Christopher Bown Mr Bernard Bradbury Simon Burke & Rupert King Desmond & Ruth Cecil Mr Evgeny Chichvarkin Mr John H Cook Georgy Djaparidze Deborah Dolce Cameron & Kathryn Doley Mariana Eidelkind & Gene Moldavsky David Ellen Ben Fairhall Mr Richard & Helen Gillingwater Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Martin & Katherine Hattrell Michael & Christine Henry Mr Steve Holliday J Douglas Home

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Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Joanna Williams Christopher Williams Ms Elena Ziskind

Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Mr & Mrs Robert Auerbach Mrs Julia Beine Harvey Bengen Miss YolanDa Brown Miss Yousun Chae Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Joshua Coger Miss Tessa Cowie Mr David Devons Patricia Dreyfus Mr Martin Fodder Christopher Fraser OBE Will Gold Ray Harsant Mr Peter Imhof The Jackman Family Mr David MacFarlane Dame Jane Newell DBE Mr Stephen Olton Mari Payne Mr David Peters Ms Edwina Pitman Mr & Mrs Graham & Jean Pugh Mr Giles Quarme Mr Kenneth Shaw Mr Brian Smith Ms Rika Suzuki Tony & Hilary Vines Dr June Wakefield Mr John Weekes Mr C D Yates

Hon. Benefactor Elliott Bernerd

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

London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

Thank you

Thomas Beecham Group Members

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 Donor Barclays

LPO Corporate Circle Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

Tutti Lazard Walpole

Trusts and Foundations

Board of the American Friends of the LPO

ABO Trust BlueSpark Foundation The Boltini Trust Borrows Charitable Trust The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation Foyle Foundation Garrick Charitable Trust John Horniman’s Children’s Trust John Thaw Foundation Institute Adam Mickiewicz Kirby Laing Foundation The Marchus Trust The Radcliffe Trust Rivers Foundation Rothschild Foundation RVW Trust Scops Arts Trust Sir William Boremans' Foundation The John S Cohen Foundation The Stanley Picker Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust

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 Jon Carter Jay Goffman Alexandra Jupin Natalie Pray Damien Vanderwilt Elizabeth Winter Catherine Høgel Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva Steven M. Berzin Veronika Borovik-Khilchevskaya Marie-Laure Favre Gilly de Varennes de Bueil Aline Foriel-Destezet Irina Gofman Countess Dominique Loredan Olivia Ma George Ramishvili Jay Stein

and all others who wish to remain anonymous.

Trialist Sciteb

Preferred Partners Gusbourne Estate Jeroboams Lindt & Sprüngli Ltd OneWelbeck Steinway

In-kind Sponsor Google Inc

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London Philharmonic Orchestra • 19 October 2022 • Canellakis conducts Brahms

London Philharmonic Orchestra Administration Board of Directors

Dr Catherine C. Høgel Chair Lord Hall of Birkenhead CBE Vice-Chair Martin Höhmann* President Mark Vines* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Katherine Leek* Al MacCuish Minn Majoe* Tania Mazzetti* 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 Burke Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Jonathan Harris CBE FRICS Marianna Hay MBE Nicholas Hely-Hutchinson DL 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

Finance

Thomas Sharpe KC Julian Simmonds Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Frances Slack Finance Director Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance and IT Officer

General Administration

Education and Community

Elena Dubinets Artistic Director

Talia Lash Education and Community Director

David Burke Chief Executive Chantelle Vircavs PA to the Executive

Hannah Foakes Rebecca Parslow Education and Community Project Managers

Concert Management Roanna Gibson Concerts and Planning Director

Lowri Davies Education and Community Co-ordinator

Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager Maddy Clarke Tours Manager Alison Jones Concerts and Recordings Co-ordinator

Sarah Thomas Martin Sargeson Librarians

Gillian Pole Recordings Archive

Dr Barry Grimaldi Honorary Doctor

Mairi Warren Marketing Manager Rachel Williams Publications Manager

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Philip Stuart Discographer

Siân Jenkins Corporate Relations Manager

Kath Trout Marketing and Communications Director

Felix Lo Orchestra and Auditions Manager

Archives

Crowe Clark Whitehill LLP Auditors

Marketing

Freddie Jackson Deputy Stage Manager

Alicia Hartley Marketing Assistant

Rosie Morden Individual Giving Manager

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Charles Russell Speechlys Solicitors

Nick Jackman Campaigns and Projects Director

Laura Kitson Stage and Operations Manager

Sophie Harvey Digital and Residencies Marketing Manager

Professional Services

Eleanor Conroy Al Levin Development Assistants

Andrew Chenery Orchestra Personnel Manager

Ruth Haines Press and PR Manager

Laura Willis Development Director

Katurah Morrish Development Events Manager

Matthew Freeman Recordings Consultant

Gavin Miller Sales and Ticketing Manager

Development

Anna Quillin Trusts and Foundations Manager

Robert Winup Concerts and Tours Assistant

Harrie Mayhew Website Manager

Mr Chris Aldren Honorary ENT Surgeon Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon 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 illustration Simon Pemberton/Heart 2022/23 season identity JMG Studio Printer John Good Ltd