LPO concert programme: 29 Oct 2022 - Twilight in Vienna (Andrés Orozco-Estrada/Arabella Steinbacher)

Concert programme

A place to call home 2022/23 concert season at the Southbank Centre’s Royal Festival Hall

Concert programme

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

Southbank Centre’s Royal Festival Hall Saturday 29 October 2022 | 7.30pm A place to call home

Twilight in Vienna J Strauss II Overture, Die Fledermaus (9’) Korngold Violin Concerto in D major, Op. 35 (25’) Interval (20’) Korngold Märchenbilder, Op. 3 (18’) R Strauss Suite from ‘Der Rosenkavalier’ (21’) Andrés Orozco-Estrada conductor Arabella Steinbacher violin

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

Concert presented by the London Philharmonic Orchestra

Contents 2 3 4 5 6 7 8 12 13 14 16

Welcome LPO news On stage tonight London Philharmonic Orchestra New on the LPO Label Andrés Orozco-Estrada Arabella Steinbacher Programme notes Recommended recordings Next concerts Sound Futures donors Thank you LPO administration

London Philharmonic Orchestra • 29 October 2022 • Twilight in Vienna

Welcome

LPO news

Welcome to the Southbank Centre 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.

The Chevalier – on sale now We’re delighted to be part of the UK premiere of The Chevalier, coming to London and Snape Maltings in March 2023. In this unique piece of concert theatre, four costumed actors join conductor Matthew Kofi Waldren, the exciting rising star violinist Braimah Kanneh-Mason, and the LPO and friends, to present Bill Barclay’s The Chevalier, which tells the fascinating life of Joseph Bologne – an 18th-century Black composer, virtuoso violinist and friend of Mozart and Marie Antoinette – more commonly known as the Chevalier de Saint-Georges. Alongside his incredible musical talents, The Chevalier was an acclaimed fencer, a general of Europe’s first Black regiment and an active campaigner for the abolishment of slavery. Almost forgotten in history, his story is bursting to be told.

Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Spiritland, Topolski, 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 We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

The performances are at Snape Maltings, Suffolk, on Sunday 19 March and St Martin-in-the-Fields, London, on Tuesday 21 March 2023. Tickets are priced from £10: book for 19 March via stmartin-in-the-fields.org or for 21 March via brittenpearsarts.org

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.

New on the LPO Label James MacMillan: Christmas Oratorio Out next week (4 November) on the LPO Label is James MacMillan’s Christmas Oratorio, recorded live at the work’s UK premiere in December 2021. Conducted

by Mark Elder, it features the London Philharmonic Choir, soprano Lucy Crowe and baritone Roderick Williams.

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

Composed in 2019, the Christmas Oratorio embraces a Scots Gaelic lullaby, English poetry and Bible passages, all recounting the Nativity. MacMillan deftly weaves together these strands in his trademark expressive and immediate language, reflecting both his Scottish roots and his deeply-held Catholic faith. It will be available to stream or download via all major platforms, and on sale to buy as a double CD. Visit lpo.org.uk/recordings to find out more.

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.

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London Philharmonic Orchestra • 29 October 2022 • Twilight in Vienna

On stage tonight First Violins

Alice Ivy-Pemberton Guest Leader

Lasma Taimina

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

Minn Majoe Morane Cohen-Lamberger Thomas Eisner Katalin Varnagy

Chair supported by Sonja Drexler

Fanny Fheodoroff Martin Höhmann Yang Zhang

Chair supported by Eric Tomsett

Amanda Smith Sophie Phillips Ronald Long Alice Hall Gabriela Opacka Kay Chappell Gavin Davies

Second Violins

Tania Mazzetti Principal

Chair supported by Countess Dominique Loredan

Helena Smart Fiona Higham

Chair supported by David & Yi Buckley

Ashley Stevens Nynke Hijlkema Claudia Tarrant-Matthews Joseph Maher Sarah Thornett Anna Harpham Sheila Law Kate Cole Sioni Williams Emma Crossley Lyrit Milgram

Violas

Piccolo

Richard Waters Principal

Katherine Bicknell

Chair supported by Caroline, Jamie & Zander Sharp

Oboes

Jisu Song Martin Wray Lucia Ortiz Sauco Laura Vallejo Raquel López Bolívar James Heron Shiry Rashkovsky Toby Warr Naomi Hoult Julia Doukakis Daniel Cornford

Ian Hardwick* Principal Alice Munday Sue Böhling*

Cor Anglais

Sue Böhling* Principal

Chair supported by Dr Barry Grimaldi

Clarinets

Benjamin Mellefont

Cellos

Principal

Kristina Blaumane Principal

Harry Cameron-Penny Elliot Gresty

Chair supported by Bianca & Stuart Roden

Jonathan Ayling Francis Bucknall Sue Sutherley Susanna Riddell Tom Roff Helen Thomas Sibylle Hentschel Iain Ward Hee Yeon Cho Victoria Harrild Julia Morneweg

Bass Clarinet

Paul Richards* Principal

Bassoons

Jonathan Davies Principal Chair supported by Sir Simon Robey

Guylaine Eckersley Simon Estell*

Contrabassoon

Double Basses

Simon Estell* Principal

Kevin Rundell* Principal Hugh Kluger George Peniston Laura Murphy Colin Paris Nickie Dixon Mike Fuller Stephen Street

Horns

John Ryan* Principal Annemarie Federle Guest Principal

Martin Hobbs Duncan Fuller Gareth Mollison

Flutes

Trumpets

Charlotte Ashton

Paul Beniston* Principal Holly Clark Guest Principal Anne McAneney*

Guest Principal

Ian Mullin Katherine Bicknell

Trombones

David Whitehouse Principal Andrew Connington

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Garf & Gill Collins

Tom Edwards Keith Millar Feargus Brennan Jeremy Cornes Stefan Beckett

Harps

Rachel Masters Principal Esther Beyer

Celeste

Catherine Edwards * Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust William & Alex de Winton Roger Greenwood Neil Westreich

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London Philharmonic Orchestra • 29 October 2022 • Twilight in Vienna

© Benjamin Ealovega

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 Centre’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 • 29 October 2022 • Twilight in Vienna

London Philharmonic Orchestra 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 right).

New on the LPO Label

TIPPETT

Next generations

THE MIDSUMMER MARRIAGE

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.

COMPLETE OPERA IN THREE ACTS conducted by Edward Gardner

with Robert Murray, Rachel Nicholls, Ashley Riches, Jennifer France, Toby Spence, Claire Barnett-Jones, Susan Bickley, Joshua Bloom, London Philharmonic Choir English National Opera Chorus

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.

Recorded live in concert at the Southbank Centre’s Royal Festival Hall, 25 September 2021

 ‘This is Edward Gardner’s show, and he rises to Tippett’s challenge superbly.’

2022/23 and beyond

BBC Music Magazine

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.

Available to download, stream, or as a 3-CD box set: scan here to find out more.

lpo.org.uk

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London Philharmonic Orchestra • 29 October 2022 • Twilight in Vienna

Andrés Orozco-Estrada conductor

Youth Philharmonic Orchestra on a major European tour.

The orchestra performed at the Amsterdam Concertgebouw, the Hamburg Elbphilharmonie, the Cologne Philharmonie and the Vienna Konzerthaus, among others.

© Werner Kmetitsch

Guest conducting engagements in the coming season will take Andrés to the Boston Symphony Orchestra, Leipzig Gewandhausorchester, Staatskapelle Dresden, NDR Elbphilharmonieorchester, Budapest Festival Orchestra, Oslo Philharmonic, Orchestre National de France and Israel Philharmonic. He will also return to the podium of the hr-Sinfonieorchester and the Staatsoper Berlin, where he will conduct a revival of La traviata.

A tour with the Chamber Orchestra of Europe will take him to the Canary Islands, as well as to the Salzburg Mozartwoche. A concert week and a masterclass for conductors with the Orquesta Sinfónica Freixenet de la Escuela Reina Sofía are also planned.

Energy, elegance and spirit are the qualities that particularly distinguish Andrés Orozco-Estrada as a musician. He was the London Philharmonic Orchestra’s Principal Guest Conductor from 2015–19, during which time he conducted the Orchestra in numerous acclaimed concerts in the UK and abroad, as well as at Glyndebourne Festival Opera.

Andrés Orozco-Estrada was Principal Conductor of the Frankfurt Radio Symphony Orchestra from 2014–21, and said goodbye in June 2021 with a major concert at the Alte Oper, of which the Frankfurter Rundschau wrote: ‘The image of a balance of human impeccability, communicative passion and the highest professionalism emerged ... it is the combination of dancelike playfulness and an unconditional search for perfection that obviously distinguishes the Colombian’s work.’

Andrés Orozco-Estrada led the Houston Symphony Orchestra as Music Director from 2014–22, and was also Chief Conductor of the Vienna Symphony Orchestra from 2020–22. He regularly conducts Europe’s leading orchestras including the Vienna Philharmonic, Berlin Philharmonic, Sächsische Staatskapelle Dresden, Leipzig Gewandhausorchester, Royal Concertgebouw Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia and Orchestre National de France, as well as major US orchestras such as the Chicago Symphony Orchestra and The Philadelphia Orchestra. He has also conducted concerts and opera performances at the Berlin State Opera and the Salzburg Festival with outstanding success.

After his farewell concerts in Houston, where he conducted Mahler’s Symphony No. 2, Andrés concluded the 2021/22 season with his Colombian

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London Philharmonic Orchestra • 29 October 2022 • Twilight in Vienna

Arabella Steinbacher violin

Philharmonique de Strasbourg and the Deutsche Radio Philharmonie Saarbrücken. Arabella works with conductors such as Marin Alsop, Herbert Blomstedt, Christoph von Dohnányi, Christoph Eschenbach, Lawrence Foster, Jakub Hrůša, Pietari Inkinen, Marek Janowski, Vladimir Jurowski, Fabio Luisi, Zubin Mehta, Andris Nelsons, Yannick Nézet-Séguin, Kirill Petrenko, John Storgårds and Kazuki Yamada.

© Sammy Hart

Arabella Steinbacher’s extensive discography impressively demonstrates her diverse repertoire.

Her most recent recording for Pentatone, for whom she records exclusively, concludes her highly praised Mozart recording cycle with Festival Strings Lucerne.

Just as successful was her previous recording, featuring The Four Seasons by both Vivaldi and Piazzolla, in which Arabella play/directed the Munich Chamber Orchestra. The disc was released in summer 2020 and received rapturous reviews, The Guardian’s 5-star review concluding simply with the words ‘What a player.’

On her upcoming recording with the Stuttgart Chamber Orchestra, Arabella juxtaposes works by J S Bach and Arvo Pärt.

Celebrated worldwide as one of today’s leading soloists, Arabella Steinbacher is known for her extraordinarily varied repertoire, comprising pieces from the Classical and Romantic eras alongside modernist concertos by Bartók, Berg, Britten, Glazunov, Gubaidulina, Hartmann, Hindemith, Khachaturian, Milhaud, Prokofiev, Schnittke, Shostakovich and Szymanowski.

Born into a family of musicians, Arabella has played the violin since the age of three and studied with Ana Chumachenco at the University of Music and Theatre in Munich from the age of eight. A particular source of musical inspiration and guidance has been the Israeli violinist Ivry Gitlis.

Arabella opened the 2022/23 season with a concert at the Klosters Festival in Switzerland, where she appeared with the Mozarteum Orchester Salzburg and Patrick Hahn, followed by a tour to Spain with Camerata Salzburg. This season she has also been invited to return to the Royal Philharmonic Orchestra, and will perform with the Polish National Radio Symphony, Munich Symphony, Belgian National and Württemberg Chamber orchestras, as well as the Orchestra del Teatro Petruzzelli di Bari and the Ulster Orchestra.

Further afield, she returns to the stages of the Seattle Symphony, NHK Symphony and Osaka Philharmonic orchestras. Another highlight of this season will be a return to the Sydney Symphony Orchestra under the baton of Umberto Clerici for the world premiere of Georges Lentz’s Violin Concerto, which he has written for Arabella.

Arabella currently plays the violins of Antonio Stradivari, Cremona 1718, known as the ‘ex Benno Walter’ and the Guarneri del Gesu ‘Sainton’ Cremona 1744, both generously provided by a private Swiss foundation.

Other orchestras with whom Arabella has collaborated include the New York Philharmonic, Boston Symphony, Chicago Symphony, Leipzig Gewandhaus, Dresden Philharmonic, NDR Elbphilharmonie, Bavarian Radio Symphony and Berlin Radio Symphony orchestras.

She has also performed to great acclaim with the London Symphony Orchestra, Orchestre National de France and Vienna Radio Symphony Orchestra, as well as the Seoul Philharmonic Orchestra. She has toured extensively with the BBC Philharmonic, the Orchestre

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London Philharmonic Orchestra • 29 October 2022 • Twilight in Vienna

Programme notes Speedread Vienna has produced and inspired many musicians over the centuries. During the late 1800s, however, the Austrian capital was dominated by waltzes from one particular family: the Strausses. So it is fitting that tonight’s concert opens with a highlight from Johann Strauss II’s most popular operetta. And there are also strains of his waltzing world in the Suite from Der Rosenkavalier, a no less evergreen opera, set in Vienna, by the (unrelated) Bavarian composer Richard Strauss. Between these two whirling scores are works by Erich Wolfgang Korngold, beginning with his Viennese childhood, when his father Julius was one of the most revered and feared music critics in the

city, and ending in the 1940s, after the Jewish-born composer had been forced to leave Europe and settle in Hollywood. Taking sketches for a Violin Concerto with him, Korngold completed the work by the end of Second World War. And it would prove to be one of the composer’s most enduring works, thanks to the demands its places on the soloist – Jascha Heifetz gave the 1947 premiere – and the generosity of its themes, many of which likewise appeared in Korngold’s scores for the silver screen. But like so much of the music he wrote for the movie industry, the Violin Concerto is as indebted to the old world of Korngold’s youth as it is to life and culture on the West Coast.

Johann Strauss II 1825–99

Overture, Die Fledermaus 1874

Die Fledermaus (‘The Bat’) was first seen in Vienna in 1874. Although it would take a few seasons for the operetta to become a veritable hit, it played brilliantly to the turbulent mood of the Habsburg capital at its premiere. The year before the work came to the stage of the famous Theater an der Wien, there had been a terrible crash at the city’s stock exchange, throwing both the Austro-Hungarian Empire and the wider world into a terrible financial crisis. Die Fledermaus promptly came along to offer a panacea, not least with its refrain, heard at the end of Act I, of ‘happy is he who forgets what can no longer be changed.’

The show begins, however, with an equally infectious Overture, much of its music taken from the final scene in the drama, where the protagonist, Gabriel von Eisenstein, and his wife Rosalinde’s singing teacher (and lover), Alfred, find themselves in prison – albeit only briefly. Two other themes dominate: the dupletime dance that deftly spells out the operetta’s title and, somewhat inevitably, one of the most infectious waltz tunes Strauss ever wrote. Together, they provide a dazzling curtain-raiser for an operetta that remains as popular in Vienna today as it did nearly 150 years ago.

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London Philharmonic Orchestra • 29 October 2022 • Twilight in Vienna

Programme notes Erich Wolfgang Korngold 1897–1957

Violin Concerto in D major, Op. 35 1945

Arabella Steinbacher violin

1 Moderato nobile 2 Romance: Andante 3 Finale: Allegro assai vivace The exception to the rule is his 1945 Violin Concerto – today, a staple of the repertoire. It is an unabashed essay in post-Romanticism, seemingly littered with quotations from the movie scores. When the Concerto was published, however, it was dedicated to Alma Mahler, speaking of a much longer gestation, with much of the music sketched prior to Korngold’s departure from Europe. Indeed, it has since proved impossible to establish whether elements from the film scores or those in the Concerto came first.

By the time of its premiere, on 15 February 1947, with Jascha Heifetz as the soloist and the St Louis Symphony Orchestra conducted by Vladimir Golschmann, the Concerto’s opening theme had already been heard within the context of the 1937 film Another Dawn. Here, it sets the nostalgic tone for the whole. A more virtuoso section, with leaping semiquavers and woodwind accompaniment, prepares the way for a second melancholy theme (from the 1939 film Juarez). These ideas are then combined in dialogue, as the music ventures into different tonal areas, before an exuberant cadenza prepares for the recapitulation, now led by the orchestra, with interjections from the soloist.

The Jewish-born Erich Korngold enjoyed a successful career in Central Europe before the rise of the Nazis and their branding of his work as ‘degenerate’. Yet, of all the composers to have their European careers destroyed by Joseph Goebbels’s cultural prohibitions, Korngold was the one who most successfully established himself elsewhere, by becoming one of the leading musical lights in Hollywood. After the Second World War, he would resume writing ‘art music’, including his spectacular Symphony in F sharp, though Korngold was never able to replicate his successes of the 1920s and 1930s.

The second movement is in ternary (A–B–A) form, with the outer sections, steered first by a solo clarinet and later by the violin, featuring a theme that also appeared in Anthony Adverse (1936). The hesitant orchestral accompaniment is rich with string harmonics, percussion, celeste and harp, before the central

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London Philharmonic Orchestra • 29 October 2022 • Twilight in Vienna

Programme notes section turns more mysterious, with bitonal harmonies questioning the air of romance. The disturbance is, however, short-lived, and the movement soon returns to that lyrical first theme, with a coda recalling the bittersweet shimmer of the ‘Silver Rose’ music from Strauss’s Der Rosenkavalier.

if reflecting both the European and US periods in Korngold’s career. A second theme, pointing to a tune from the 1937 score for The Prince and the Pauper, affords a brief haven of calm in an otherwise helterskeltering movement, before the soloist strides off with increasingly wild double-stopped variations.

The orchestra then takes over in magisterial form, briefly allowing the violinist to catch their breath for the final hoedown.

Finally, the Concerto closes with a boisterous jig that often suggests the acrobatics of a rodeo, as

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

Erich Wolfgang Korngold 1897–1957

Märchenbilder, Op. 3 1910

1 Die verzauberte Prinzessin (The Enchanted Princess) 2 Rübezahl (The Ruler of the Spirits) 3 Wichtelmännlein (The Gnomes) 4 Ball beim Märchenkönig (The Fairy King’s Ball) 5 Das tapfere Schneiderlein (The Brave Little Tailor) 6 Das Märchen spricht den Epilog (The Fairytale’s Epilogue) If the Violin Concerto represents Korngold towards the end of his career, the Märchenbilder (‘Fairytale Pictures’), written for piano in 1910 and then orchestrated under Zemlinsky’s tutelage, reveal something of his prodigious youth. Encouraged by his music critic father, Korngold was, after all, only 13 at the time, prompting much older and much more established composers such as Mahler, Strauss and Puccini to express their admiration.

Korngold’s original piano work was cast in seven movements, with a second, ‘The Princess and the Pea’, lost from the orchestration he created for an abortive 1911 premiere in the Czech spa town of Karlsbad – the first public performance finally took place in 1997, with the BBC Philharmonic. The six surviving tableaux nonetheless show extraordinary levels of inspiration.

In ‘The Enchanted Princess’, for instance, Korngold contrasts elements of march and romance, while

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London Philharmonic Orchestra • 29 October 2022 • Twilight in Vienna

Programme notes introducing an idiom that has long if erroneously been associated with his and others’ work for Hollywood, two decades later. ‘The Ruler of the Spirits’, on the other hand, is imbued with the bittersweet melancholy that would dominate his 1920 opera Die tote Stadt.

Turning to Mendelssohnian scurries (‘The Gnomes’) and a Straussian waltz (‘The Fairy King’s Ball’), Korngold then provides a miniature tone-poem for the Grimm

Brothers’ ‘Brave Little Tailor’, the figure who tricks both giants and crowned heads, before the sequence ends with a gloriously open-hearted Epilogue. Korngold’s career, on the other hand, was only just beginning, with Engelbert Humperdinck, the composer of Hänsel und Gretel, calling him a ‘wonder child from fairyland’, the very world of these beguiling Märchenbilder.

Richard Strauss 1862–1949

Suite from ‘Der Rosenkavalier’ 1911/1945

Richard Strauss had long wanted to make a mark in the theatre, though both his first and second operas, Guntram and Feuersnot, failed to wow. Finally, he triumphed spectacularly with the world premiere of Salome in Dresden in 1905, when the opera’s combination of highly controversial text and glitteringly violent score made for box office gold. Indeed, Salome was so successful that Strauss was able to build a new villa in the Bavarian town of Garmisch with the proceeds.

There are opportunities in it for lyrical passages, for fun and humour, even for a small ballet. I find the scenario enchanting and Count Kessler, with whom I discussed it, is delighted with it. It contains two big parts, one for baritone and one for a graceful girl dressed up as a man, à la Farrar or Mary Garden.

Period: the old Vienna under Empress Maria Theresa.

Here were the bare bones of Der Rosenkavalier.

The choice of a mid-18th-century setting encouraged various references to Mozart, including parallels with Le nozze di Figaro. Yet it was the score’s sensuous if somewhat incongruous sequences of waltzes from the era of Strauss’s (unrelated) namesake Johann that guaranteed its success, with international productions quickly following the 1911 world premiere in Dresden.

The composer was, understandably, keen to repeat the success. Not long after the premiere, he saw Hugo von Hofmannsthal’s Sophocles adaptation Elektra in Berlin, which he promptly recognised as ‘a brilliant opera text’. Even though Strauss had misgivings about writing another gruesome tragedy so hot on the heels of Salome, he soon began work with Hofmannsthal on the new opera. Yet throughout its genesis Strauss kept asking for alternative ideas, alighting on stories from the Bible, as well as a comedy on the life of Casanova.

But it was not until February 1909, a month after the eventual premiere of Elektra, that Hofmannsthal delivered the goods:

Tonight’s Suite, created by Strauss and the Polish conductor Artur Rodziński in 1944, was a late attempt to exploit this immensely popular opera yet further.

It opens with the music of the Prelude to Act I, describing a night between the Marschallin – the wife of a field marshal in the Habsburg army – and her young boyfriend Count Octavian. Their lovemaking and subsequent levée are then interrupted by the lecherous Baron Ochs, who has chosen to marry the nouveau-riche Sophie and comes to ask his cousin to select an emissary for a silver rose, the traditional

I have spent three quiet afternoons here drafting the full and entirely original scenario for an opera, full of burlesque situations and characters, with lively action, pellucid almost like a pantomime.

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London Philharmonic Orchestra • 29 October 2022 • Twilight in Vienna

Programme notes Next concerts at the Southbank Centre’s Royal Festival Hall

symbol of engagement. It is the music of this token and its presentation by Octavian in Act II that we hear next, described by a deliciously winsome theme and metallic splashes from the upper winds, harp and celeste.

AMERICAN DREAMS

Despite Ochs’s aims, it is Octavian and Sophie who then fall in love, as heard in music from their second act duet. The Baron remains typically oblivious to their burgeoning relationship and, instead, delivers a much bawdier waltz. The Suite’s remaining themes are derived from the Marschallin’s philosophical monologue concerning age and mortality in Act I, as well as the justly famous trio from the conclusion to the drama, when the Marschallin graciously bows out to allow Sophie and Octavian’s new relationship to flourish.

Finally, the young pair are left alone, with a lullaby reprise of their delicate rose theme, before Strauss concludes the Suite with an even more rambunctious version of one of the waltzes that dominate his most popular score.

Wednesday 2 November 2022 | 7.30pm Copland Appalachian Spring Douglas J Cuomo Saxophone Concerto: ‘a raft, the sky, the wild sea’ (European premiere) Derrick Skye Prisms, Cycles, Leaps (UK premiere) Bernstein Symphonic Dances from West Side Story Joshua Weilerstein conductor Joe Lovano saxophone

Programme notes © Gavin Plumley

RANDALL GOOSBY PLAYS BRUCH Friday 4 November 2022 | 7.30pm Chen Yi Momentum Bruch Violin Concerto No. 1 Brahms Symphony No. 3

Recommended recordings of tonight’s works

Alpesh Chauhan conductor Randall Goosby violin

by Laurie Watt

Celebrating the 50th Anniversary of Ambassadorial Diplomatic Relations between China and the UK

J Strauss II: Overture, Die Fledermaus London Philharmonic Orchestra | Franz WelserMöst (Warner) or Vienna Philharmonic | Willi Boskovsky (Decca) Korngold: Violin Concerto Arabella Steinbacher | Gulbenkian Orchestra Lawrence Foster (Pentatone) Korngold: Märchenbilder BBC Philharmonic | Matthias Bamert (Chandos) R Strauss: Suite from ‘Der Rosenkavalier’ Pittsburgh Symphony Orchestra | Manfred Honeck (Reference Recordings) or London Philharmonic Orchestra | Norman Del Mar (Classics for Pleasure)

LPO.ORG.UK

Joe Lovano © Monterey Jazz Festival/Craig Lovell

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London Philharmonic Orchestra • 29 October 2022 • Twilight in Vienna

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 • 29 October 2022 • Twilight in Vienna

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

John & Angela Kessler Julian & Gill Simmonds Eric Tomsett Andrew & Rosemary Tusa Guy & Utti Whittaker Mr Florian Wunderlich

Silver Patrons

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 • 29 October 2022 • Twilight in Vienna

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 • 29 October 2022 • Twilight in Vienna

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 Lowri Davies Education and Community Project Managers

Concert Management Roanna Gibson Concerts and Planning Director

Development Laura Willis Development Director

Graham Wood Concerts and Recordings Manager

Rosie Morden Individual Giving Manager

Fabio Sarlo Glyndebourne and Projects Manager

Siân Jenkins Corporate Relations Manager

Maddy Clarke Tours Manager

Anna Quillin Trusts and Foundations Manager

Alison Jones Concerts and Recordings Co-ordinator

Katurah Morrish Development Events Manager

Robert Winup Concerts and Tours Assistant

Eleanor Conroy Al Levin Development Assistants

Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Nick Jackman Campaigns and Projects Director

Sarah Thomas Martin Sargeson Librarians

Kirstin Peltonen Development Associate

Marketing

Laura Kitson Stage and Operations Manager

Kath Trout Marketing and Communications Director

Stephen O’Flaherty Deputy Operations Manager

Mairi Warren Marketing Manager

Freddie Jackson Deputy Stage Manager

Rachel Williams Publications Manager

Felix Lo Orchestra and Auditions Manager

Harrie Mayhew Website Manager

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Gavin Miller Sales and Ticketing Manager Ruth Haines Press and PR Manager Sophie Harvey Digital and Residencies Marketing Manager Greg Felton Digital Creative Alicia Hartley Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

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