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MUSIC IS OUR WORLD. WE WANT TO SHARE ITS ASTONISHING POWER AND WONDER WITH YOU. Concert programme lpo.org.uk

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 Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Wednesday 28 September 2016 | 7.30pm

Beethoven Piano Concerto No. 1 in C major, Op. 15* (37’) Interval (20’) Bruckner Symphony No. 4 in E flat major (Romantic) (original 1874 version, ed. Nowak) (64’)

Vladimir Jurowski conductor Valery Afanassiev piano

* Generously supported by

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome LPO news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Valery Afanassiev 8 Programme notes 10 Recommended recordings 11 Next concerts 13 Sound Futures donors 14 Supporters 16 LPO administration

Welcome

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, Feng Sushi 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 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss

LPO news

elcome to tonight’s concert at Royal Festival Hall. Whether you’re a regular concert-goer, a visitor to London or new to classical music, it’s great to have you with us! Between now and the end of the LPO season in May there are countless highlights to look forward to including:

• • • •

• • •

Anne-Sophie Mutter playing Beethoven’s Violin Concerto The return of Osmo Vänskä to conduct a Sibelius Symphony Cycle alongside major British works by Britten, Elgar, Walton and Vaughan Williams Vladimir Jurowski’s continuation of his Mahler and Bruckner symphony cycles Great choral works including Haydn’s The Creation, Beethoven’s Missa Solemnis, Mozart’s Requiem, Mahler’s Symphony No. 8, Beethoven’s Symphony No. 9 and Tallis’s 40-part motet Spem in Alium Landmark works by Steve Reich and Gavin Bryars Cabaret diva Meow Meow with members of the cross-genre band Pink Martini Belief and Beyond Belief, a year-long festival with Southbank Centre throughout 2017 exploring what makes us human in the 21st century.

Browse the full season and book online at lpo.org.uk, pick up a season brochure in the Royal Festival Hall foyer this evening or call us on 020 7840 4200 to request a copy in the post.

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.

2 | London Philharmonic Orchestra

Out now The Autumn/Winter 2016 edition of Tune In, our free twice-yearly magazine. Copies are available at the LPO Information 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

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Ilyoung Chae Chair supported by an anonymous donor

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Yang Zhang Grace Lee Rebecca Shorrock Caroline Sharp Georgina Leo Sarah Streatfeild Amanda Smith Second Violins Andrew Storey Principal Jeongmin Kim Chair supported by Friends of the Orchestra

Tania Mazzetti Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Marie-Anne Mairesse Helena Herford Sioni Williams Harry Kerr John Dickinson Ashley Stevens Kate Birchall Nynke Hijlkema Elizabeth Baldey

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Stanislav Popov Martin Fenn Richard Cookson Katharine Leek Isabel Pereira Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Santiago Carvalho† Chair co-supported by Molly & David Borthwick

David Lale Elisabeth Wiklander Chair supported by Drs Oliver & Asha Foster

Sue Sutherley Susanna Riddell Tom Roff Laura Donoghue Helen Rathbone Iain Ward Double Basses Kevin Rundell* Principal Hugh Kluger Sebastian Pennar Sub-Principal George Peniston Laurence Lovelle Iván Rubido González Charlotte Kerbegian Lowri Morgan Laura Murphy Kenneth Knussen

Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

Stewart McIlwham* Hannah Grayson Oboes Ian Hardwick* Principal Alice Munday Sue Böhling* Chair supported by Dr Barry Grimaldi

Tristan Cox Clarinets Thomas Watmough Principal William Stafford Robert Hill Paul Richards Bassoons Gareth Newman Principal Emma Harding Simon Estell Claire Webster

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

David Whitehouse Richard Ward Bass Trombone Lyndon Meredith Principal Timpani Simon Carrington* Principal Assistant Conductor Jamie Phillips * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

Horns John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Stephen Nicholls Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Toby Street David Hilton

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Andrew Davenport • Simon Robey • Eric Tomsett

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

So far, so miraculous, with the orchestra moving as one under its admired principal conductor’s meticulous guidance. The Arts Desk, BBC Proms July 2016

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. 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 currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2016 the LPO joined many of the UK’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400

4 | London Philharmonic Orchestra

years since his death. In 2017 we will collaborate with Southbank Centre on Belief and Beyond Belief: a year-long multi-artform festival. Other 2016/17 season highlights include the return of Osmo Vänskä to conduct the Sibelius symphonies alongside major British concertos by Britten, Elgar, Walton and Vaughan Williams; Jurowski’s continuation of his Mahler and Brucker symphony cycles; landmark contemporary works by Steve Reich, Philip Glass, John Adams and Gavin Bryars; and premieres of new works by Aaron Jay Kernis and the Orchestra’s Composer in Residence Magnus Lindberg. 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 2015/16 season included visits to

Pieter Schoeman leader

Mexico, Spain, Germany, the Canary Islands and Russia; and tour plans for 2016/17 include New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland.

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

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 90 releases available on CD and to download. Recent additions include Rachmaninoff’s Symphony No. 3 and Ten Songs under Vladimir Jurowski; a second volume of works by the Orchestra’s former Composer in Residence, Julian Anderson; and Bruckner’s Symphony No. 5 with veteran maestro Stanisław Skrowaczewski.

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. 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 Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

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Vladimir Jurowski conductor

Jurowski’s performances with the LPO these days really are unmissable.

The Times, March 2015

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. In October 2015 he was appointed the next Chief Conductor and Artistic Director of the Rundfunk-sinfonieorchester Berlin, a position he will take up in September 2017. Jurowski also maintains his position as Artistic Director of the State Academic Symphony Orchestra of Russia (Svetlanov Symphony Orchestra). He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin Philharmonic, New York Philharmonic and Rundfunk Sinfonieorchester Berlin; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

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His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra National de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Moses und Aron at Komische and Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. In 2015 he returned to the Komische Oper in Berlin for a universally acclaimed new production of Moses und Aron, and made his debut at the Bayerische Staatsoper in Munich with Prokofiev’s The Fiery Angel. Future highlights include his Salzburg Festival debut with Wozzeck, and his first return to Glyndebourne as a guest conductor, to lead the world premiere production of Brett Dean’s Hamlet. The Glyndebourne production of Wagner's Die Meistersinger von Nürnberg, led by Vladimir Jurowski with the London Philharmonic Orchestra and Glyndebourne Chorus, won the 2015 BBC Music Magazine Opera Award.

In 2007 Vladimir was a guest on BBC Radio 4's flagship programme Desert Island Discs. Discover his eight records of choice here: bbc.co.uk/programmes/b007w97r

Valery Afanassiev piano

More piano concertos with the LPO this season Wednesday 12 October 2016 – 7.30pm Mozart Piano Concerto No. 24 in C minor, K491 plus works by Haydn & Mahler Vladimir Jurowski conductor Lucas Debargue piano

Valery Afanassiev was born in Moscow in 1947 and studied at the Moscow Conservatoire under Jacob Zak and subsequently Emil Gilels. He has won two major international competitions: the Bach Competition in Leipzig (1968) and the Queen Elisabeth Competition in Brussels (1972). In 1974 he requested political asylum in Belgium, where he now lives. Since his defection to the West, he has given concerts throughout Europe, Japan and the United States. Valery Afanassiev has recorded around 50 CDs, the booklets for which he writes himself. His aim is to give the listener a total picture of his insight into the composer’s mind—a guided tour through his alchemical laboratory in which poetry, philosophy, painting, the Kabbalath and even wine, as much as musical notation, may be taken as points of reference. Valery Afanassiev has written 39 novels: 23 in English and 16 in French. He has also written 16 books of poetry in English and nine in Russian, a book of long stories, a book of short stories, a commentary on Dante’s Commedia, three books of essays and two theatrical pieces inspired by Pictures at an Exhibition and Kreisleriana, in both of which he performs as pianist and actor (in four languages). Recently he completed a play based on Kafka’s In the Penal Colony, during which he performs Morton Feldman’s Palais de Mari. For several years, Valery Afanassiev has conducted a variety of international orchestras. He endeavours to approach something of the sound quality and polyphony of his favourite conductors: Furtwängler, Toscanini, Mengelberg, Knappertsbusch, Walter and Klemperer.

‘People are loving Lucas Debargue because he is a real musician. He is kind of a genius, just a genius.’ Pianist Boris Berezovsky

Wednesday 14 December 2016 – 7.30pm Chopin Piano Concerto No. 1 plus works by Glinka & Rachmaninoff Vladimir Jurowski conductor Jan Lisiecki piano

‘Jan Lisiecki. Remember the name.’ The Financial Times

Tuesday 14 February 2017 – 7.30pm Rachmaninoff Piano Concerto No. 2 Brief Encounter film with live orchestra Dirk Brossé conductor Alexandra Dariescu piano Part of Southbank Centre’s ‘Film Scores Live’: book via Southbank Centre Ticket Office on 020 7960 4200

‘Magnificently projected playing. Dariescu is enormously impressive.’ BBC Music Magazine

Book now lpo.org.uk 020 7840 4242 London Philharmonic Orchestra | 7

Programme notes

Speedread The symphony Bruckner called his ‘Romantic’ (No. 4) makes a fine partner for Beethoven’s official ‘First’ Piano Concerto. The Concerto is actually Beethoven’s third, but it shows such new-found brilliance, daring and confidence that one can see why he chose it to mark his public concerto debut as composer-pianist. The outer movements show Beethoven dramatising the relationship between the piano and the orchestra in exciting new ways, while in the slow movement the piano writing shows the ‘singing’ lyrical beauty for which Beethoven the pianist was famous. Bruckner’s Fourth Symphony is also a work in which its composer shows completely

Ludwig van Beethoven 1770–1827

In classical music, numbers are often misleading. The Piano Concerto we know as Beethoven’s First is actually his third. When he was 13 Beethoven composed a Concerto in E flat (only the piano part survives). He probably began the Concerto in B flat, later published as No. 2, sometime in his 18th year, but this was revised and rewritten extensively during the following 12 years; even then Beethoven conceded that it was ‘not one of my best’. So it isn’t hard to see why Beethoven decided to publish the C major Concerto as his official ‘No. 1’. The themes, and their subsequent developments, show a confidence that marks an advance on the First Symphony. There’s also a new kind of dramatic tension in the relationship between the soloist and the orchestra. Beethoven had clearly learned a great deal from the concertos of Mozart, but the element of striving – the feeling that piano and orchestra are at times struggling with each 8 | London Philharmonic Orchestra

new confidence – even in this first version of the score, which he later revised extensively. It begins with a soft horn-call through hushed, shimmering strings – the virtual embodiment of a great centralEuropean forestscape in music. The slow movement suggests a mysterious nocturnal processional, melancholic one moment, quietly awestruck the next, then the original Scherzo (completely different from the more familiar version) juxtaposes mysterious horn fanfares and nervous long crescendos. More dark forest murmurs haunt the Finale, but the long concluding crescendo ends in a blaze of light. A Bruckner ending is always worth waiting for!

Piano Concerto No. 1 in C major, Op. 15 (1796–97) Valery Afanassiev piano 1 Allegro con brio 2 Largo 3 Rondo: Allegro scherzando

other for supremacy – is authentically Beethovenian, and quite new. The first movement’s opening theme, introduced (according to classical convention) by the orchestra, is arresting and highly memorable – excellent material for theatrical development. But where most classical concertos have the orchestra merely present the main themes, Beethoven brings in an element of drama from the start. The first statement of the theme is on strings alone, pianissimo, and it is only when we have heard it in its entirety – almost – that it is allowed to explode on full orchestra, enhanced by trumpets and drums. When the piano enters for the first time, it doesn’t try to assert itself against the orchestra (as it does thrillingly in the Third Piano Concerto), but seems at first to opt for soothing lyricism. Only when the orchestra fights back does the soloist respond with brilliant cascading fortissimo figures. The drama of this long first

movement is here presented in essence: sometimes the piano pits its strength against the might of the orchestra, sometimes it tries subtler methods: a sudden commanding hush, a seductive melody or a surprising twist to the harmony. The slow movement is far gentler in tone, and the piano mostly leads, with displays of almost vocal lyricism for the piano well-suited to the ‘singing’ quality for which Beethoven the pianist was famous. But this is no straightforward aria for the piano: there

are still moments of telling dialogue between piano and orchestra. And the same is true, in simpler, more knockabout terms, of the sprightly Rondo finale. There is one truly sublime moment just before the end, however. The opening phrase of the first theme seems to unwind into a quiet piano trill, and then, via a delicious righthand run, comes to a peaceful close. Oboes and horns echo the piano slowly and reverently for just a moment – then a brief but thunderous orchestral fortissimo sweeps the Concerto to a brilliant close.

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

Anton Bruckner 1824–1896

Bruckner was quite clear about it: the Fourth was his ‘Romantic’ Symphony. So why single out this work in particular? All his symphonies are clearly products of the Romantic era, however much they may owe to the counterpoint of Palestrina and Bach, or to the architecture of the great Austrian cathedrals in which Bruckner (a superb organist and a devout Roman Catholic) worked and found spiritual refuge. When it first appeared, the Fourth Symphony was provided with a picturesque descriptive programme, inviting listeners to imagine dawn over a medieval town, processions of knights, hunting scenes, etc – all very romantic in spirit. In fact Bruckner probably had little to do with this; almost certainly his arm was twisted by over-zealous friends, anxious to help the still-largely sceptical Viennese musical public get to grips with such a long, complex and highly original new work. Yet for many the Fourth Symphony does have a unique power to conjure up moods or mental pictures. The

Symphony No. 4 in E flat major (1874) (original 1874 version, ed. Nowak) 1 Allegro 2 Andante, quasi Allegretto 3 Scherzo: Sehr schnell [Very fast] – Trio: Im gleichen Tempo [At the same tempo] – Scherzo 4 Finale: Allegro moderato magical opening – solo horn-calls sounding through quietly shimmering string tremolandos – is clearly forest music, particularly Austrian-German forest music in the tradition of Schubert or Weber’s classic nationalist opera Der Freischütz. What this beginning also reveals is Bruckner’s newfound confidence as a symphonist. It’s evident even in this ‘original’ version of the Symphony, as completed by Bruckner in 1874 – in several ways strikingly different from the familiar version, as revised in 1878–80. From the horn theme, through the long following crescendo to the arrival of the second main theme, fortissimo, on bass brass, the music flows forward like a great river. As the movement unfolds Bruckner may allow himself pauses for breath or reflection, like a walker stopping to admire a fine view, but soon the steady momentum is re-established. The horn theme returns in its original form at the start of the recapitulation (with a counter-melody on violins), but in this 1874 score it doesn’t return in full glorious triumph at the end of the movement: instead

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Programme notes continued

we hear only its rhythm sounded out emphatically by the brass. The typical Bruckner slow movement is a profound, songful Adagio meditation. Here, however, we have something closer to a funeral march, or at least a melancholy nocturnal procession. But although the tempo marking, Andante, quasi Allegretto, suggests a mobile pace, the underlying pulse feels slow, the landscape even more spacious than that opened out in the Symphony’s opening pages. The feeling of immense shadowy space is enhanced by the second theme: violas singing long, calm phrases through quiet pizzicato string-chords. There are passages in this movement that could have been written to illustrate the marvellous German word Waldeinsamkeit: the unique sense of aloneness one feels in a forest. Eventually this march theme rouses itself to a grand climax. But the splendour soon fades, and we are left with quietly pulsating timpani and memories of the march theme on horns. For listeners who know the familiar 1880 score, the 1874 Scherzo will come as a complete surprise. Instead of the later, bright-toned evocation of the thrill of the chase, we have a strange, nervous, initially minor-key movement, introduced – and repeatedly interrupted by – a mysterious fanfare for solo horn, which seems to anticipate the famous horn-call in Mahler’s Seventh Symphony. (It’s unlikely Mahler ever heard this version, and it was never performed in either man’s lifetime.) The Scherzo’s highly original alternation of two- and three-time persists in the quieter central Trio section. Then the Scherzo returns in full. The Finale is the longest and most exploratory of the four movements. Bruckner claimed that the main theme came to him in a dream, played by a friend, who told Bruckner, ‘The first three movements of the Romantic (Fourth) Symphony are ready, and we'll soon find the theme for the fourth. Go to the piano and play it for me.’ ‘I was so excited’, Bruckner tells us, ‘that I woke up, leaped out of bed and wrote the theme down, just as I'd heard it’. Almost certainly this dream-given idea is the elemental unison theme for full orchestra that enters at the height of the first crescendo – strikingly one of the few passages that remained essentially unchanged in the two major revisions Bruckner made of this movement. 10 | London Philharmonic Orchestra

Clarifying the form of this Finale caused Bruckner immense trouble, and there is evidence he wasn't satisfied even after he'd completed the supposedly ‘final’ version in 1880. Bruckner lovers have tended to agree with him: certainly there are splendid ideas, but there are also passages in which the music momentarily seems to lose its way. But then Bruckner is attempting something highly original here: not a fast classical finale, but a huge summing-up that contrasts dramatic assertion with moments of anxious uncertainty or, at the other extreme, meditative calm. This original finale is longer, and more rhythmically complex than the familiar version – the use of five-ina-bar figures against the prevailing four beats is highly unusual for even the late 19th century. The long final crescendo is also quite different in this first version of the score. Nervous string figures alternate with angry interjections from the full brass. But at the end, the Symphony’s opening horn-call sounds thrilling through the orchestral floodtide on trumpets, confirming the bright major mode. We have come full circle. Programme notes © Stephen Johnson

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. Beethoven: Piano Concerto No. 1 Vladimir Ashkenazy | London Philharmonic Orchestra | Bernard Haitink (Decca DVD) Bruckner: Symphony No. 4 London Philharmonic Orchestra | Klaus Tennstedt (LPO Label, LPO-0014)

Next concerts at Southbank Centre’s Royal Festival Hall Saturday 8 October 2016 7.30pm

saturday 15 October 2016 7.30pm

Sibelius Suite, King Kristian II Panufnik Violin Concerto* Shostakovich Symphony No. 5

Stravinsky Symphonies of Wind Instruments (1947 version) Stravinsky Variations (Aldous Huxley in Memoriam) Zimmermann Violin Concerto Henze Symphony No. 7

Thomas Søndergård conductor Sergej Krylov violin * Organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music programme

Vladimir Jurowski conductor Thomas Zehetmair violin

Free pre-concert event | 6:15pm

Wednesday 12 October 2016 7.30pm Haydn Overture, The Apothecary Mozart Piano Concerto No. 24 in C minor, K491 Mahler Symphony No. 4

Gramophone critic and Henze biographer Guy Rickards looks at Henze’s importance as a 20th-century symphonist.

Vladimir Jurowski conductor Lucas Debargue piano Sofia Fomina soprano

Book now lpo.org.uk 020 7840 4242 London Philharmonic Orchestra | 11

INTERNATIONAL

Great solo perfor mers from around the world at Southbank Centre

PIANO

Concerts at Royal Festival Hall and St John’s Smith Square

SERIES 2016 /17 Federico Colli

Louis Schwizgebel

Danny Driver

Pierre-Laurent Aimard & Tamara Stefanovich

Thu 20 Oct 2016 Mozart, Beethoven, Schumann and Mussorgsky Thu 3 Nov 2016 Bach, Schumann, Balakirev, Rachmaninov and Prokofiev

Ingolf Wunder Sat 19 Nov 2016 Schubert, Mozart and Chopin

Fri 2 Dec 2016 Mozart, Schumann, Beethoven and Schubert

Tue 24 Jan 2017 Brahms and Messiaen

Mitsuko Uchida

Tue 31 Jan 2017 Mozart and Schumann

Maurizio Pollini

Yuja Wang

Boris Berezovsky

Alexander Gavrylyuk

Tue 21 Feb 2017 Debussy and Chopin

Tue 11 Apr 2017 Beethoven

Tue 28 Feb 2017 Programme to be announced

Maurizio Pollini Tue14 Mar 2017 Beethoven

Richard Goode

Yulianna Avdeeva Wed 29 Mar 2017 Beethoven and Liszt

Wed 3 May 2017 Bach, Haydn, Chopin, Prokofiev, Rachmaninov, Balakirev. Wed 31 May 2017 Beethoven

020 7960 4200 southbankcentre.co.uk/ips

MUSIC IS OUR WORLD.

Student & Under 26 NOISE Scheme at Southbank Centre’s Royal Festival Hall

Students receive best available seats for just £4 plus FREE post-concert drinks at selected concerts throughout the year. Sign up online at lpo.org.uk/noise The London Philharmonic Orchestra’s NOISE programme is supported by the Orchestra’s Principal Beer Sponsor, Heineken.

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‘Listening to the @LPOrchestra is one of the best things to do in life’

‘@LPOrchestra

bring it on!’

‘London concert-goers are lucky to have concerts as creative as this’ - Financial Times

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 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 Robert Markwick & Kasia Robinski The Rind Foundation 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 Lady 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

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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 Natalia Semenova & Dimitri Gourji The Tsukanov Family Principal Associates An anonymous donor Mr Peter Cullum CBE Dr Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Neil Westreich Associates Simon Robey Stuart & Bianca Roden Barry Grimaldi William & Alex de Winton Gold Patrons An anonymous donor Mrs Evzen Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Georgy Djaparidze Sonja Drexler Mrs Gillian Fane Drs Oliver & Asha Foster Simon & Meg Freakley David & Victoria Graham Fuller Wim & Jackie Hautekiet-Clare The Jeniffer & Jonathan Harris Charitable Trust Alexandra Jupin & John Bean James R D Korner Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Laurence Watt Michael & Ruth West

Silver Patrons Mrs Molly Borthwick Peter & Fiona Espenhahn David Goldstone CBE LLB FRICS Rehmet Kassim-Lakha de Morixe John & Angela Kessler Vadim & Natalia Levin Mrs Virginia Slaymaker Mr Brian Smith The Viney Family Guy & Utti Whittaker Bronze Patrons Valentina & Dmitry Aksenov Dr Christopher Aldren Michael Allen Mr Jeremy Bull Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel David Ellen Mrs Marie-Laure Favre-Gilly de Varennes de Bueil Igor & Lyuba Galkin Mrs Irina Gofman Mr Daniel Goldstein Mr Gavin Graham Mrs Dorothy Hambleton Mr Martin Hattrell Mr Colm Kelleher Drs Frank & Gek Lim Mrs Angela Lynch Peter MacDonald Eggers William & Catherine MacDougall Mr & Mrs David Malpas Mr Adrian Mee Mrs Elizabeth Meshkvicheva Mrs Rosemarie Pardington Ms Olga Pavlova Mr Michael Posen Mrs Karmen Pretel-Martines Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr & Mrs G Stein Sergei & Elena Sudakova Captain Mark Edward Tennant Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Grenville & Krysia Williams

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Christopher Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Mr Geoffrey Bateman Mrs A Beare Mr Charles Bott Mr Graham Brady Mr Gary Brass Mr Richard Brass Mr Frederick Brittenden David & Patricia Buck Dr Anthony Buckland Sir Terry Burns GCB Richard Buxton Mr Pascal Cagni Mrs Alan Carrington Dr Archibald E Carter The Countess June Chichester John Childress & Christiane Wuillamie Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Alfons Cortés Mr David Edwards Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Roger Greenwood Mr Chris Grigg Malcolm Herring Amanda Hill & Daniel Heaf J Douglas Home Ivan Hurry Mr Glenn Hurstfield Mr Peter Jenkins Per Jonsson Mr Frank Krikhaar Rose & Dudley Leigh Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Nicholas Lyons Mr Peter Mace Mrs Ulrike Mansel Robert Markwick & Kasia Robinski Elena Mezentseva Andrew T Mills

Dr Karen Morton Mr & Mrs Andrew Neill Maestro Yannick Nézet-Séguin Pavel & Elena Novoselov Dr Wiebke Pekrull Mr Roger Phillimore Mr James Pickford Andrew & Sarah Poppleton Oleg Pukhov Miss Tatiana Pyatigorskaya Martin & Cheryl Southgate Peter Tausig Mr Jonathan Townley Andrew & Roanna Tusa Lady Marina Vaizey Howard & Sheelagh Watson Des & Maggie Whitelock Bill Yoe Supporters Mr Clifford Brown Miss Siobhan Cervin Miss Lynn Chapman Mr Joshua Coger Mr Geoffrey A Collens Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Ms Holly Dunlap Ms Susanne Feldthusen Mrs Janet Flynn Mr Nick Garland Mr Derek B. Gray Dr Geoffrey Guy The Jackman Family Mrs Svetlana Kashinskaya Niels Kroninger Mrs Nino Kuparadze Mr Christopher Langridge Alison Clarke & Leo Pilkington Miss S M Longson Mr David Macfarlane Mr John Meloy Miss Lucyna Mozyrko Mr Leonid Ogarev Mr Stephen Olton Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr James A Reece

Mr Olivier Rosenfeld Mr Robert Ross Mr Kenneth Shaw Mr Barry Smith Ms Natalie Spraggon James & Virginia Turnball Michael & Katie Urmston Timothy Walker AM Mr Berent Wallendahl Edward & Catherine Williams Mr C D Yates Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE 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: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna Natalie Pray Robert Watson Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Corporate Donors Fenchurch Advisory Partners LLP Goldman Sachs Linklaters London Stock Exchange Group Morgan Lewis Phillips Auction House Pictet Bank Corporate Members Gold Sunshine Silver Accenture After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze BTO Management Consulting AG Charles Russell Speechlys Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations Axis Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation The Goldsmiths’ Company Lucille Graham Trust Help Musicians UK Derek Hill Foundation John Horniman’s Children’s Trust The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw Foundation The Michael Tippett Musical Foundation UK Friends of the FelixMendelssohn-BartholdyFoundation

Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

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

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager