LPO concert programme: 9 Feb 2022 - Mahler's First (Hannu Lintu/Lawrence Power)

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

Concert programme

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

Southbank Centre’s Royal Festival Hall Wednesday 9 February 2022 | 7.30pm

Mahler’s First Nielsen Helios Overture, Op. 17 (12’) Brett Dean Viola Concerto (25’) Interval (20’) Mahler Symphony No. 1 in D (56’) Hannu Lintu conductor Lawrence Power viola

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

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 3 4 6 7 8 10 12 13 14 16

Welcome LPO news On stage tonight London Philharmonic Orchestra Hannu Lintu Lawrence Power Programme notes Recommended recordings Mahler on the LPO Label Sound Futures donors Thank you LPO administration

London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

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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.

Sir Scallywag and the Golden Underpants: FUNharmonics Family Concert this Sunday

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’ll be back for the next FUNharmonics concert and can’t recommend them highly enough!’

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

KidAround Magazine

Our next FUNharmonics Family Concert is this Sunday, 13 February at 12 noon, when the Orchestra will be joined by conductor Michael Seal and presenter Polly Ives to tell the heroic story of Sir Scallywag and the Golden Underpants, based on the book by Giles Andreae and Korky Paul, with music by Paul Rissmann.

There will be plenty of audience interaction throughout, plus added orchestral treats – a perfect first concert experience for all the family (suitable for ages 5+).

Tickets for the concert are still available: visit lpo.org.uk/funharmonics FUNharmonics concerts include free musical activities in the foyer spaces at the Royal Festival Hall, so the whole family can make a day of your visit. Activities take place from 10am–12.00 noon (concert ticket-holders only).

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London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

On stage tonight First Violins

Chair supported by Friends of the Orchestra

Alistair Scahill Julia Doukakis Abby Bowen Martin Fenn Charles Cross

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

Cellos

Vesselin Gellev Leader Kate Oswin Lasma Taimina

Minn Majoe Katalin Varnagy

Chair supported by Sonja Drexler

Yang Zhang

Chair supported by Eric Tomsett

Martin Höhmann

Chair supported by Chris Aldren

Cassi Hamilton Thomas Eisner Kana Kawashima Catherine Craig Rasa Zukauskaite Caroline Sharp Joseph Devalle Nilufar Alimaksumova Katherine Waller

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Kate Birchall Nancy Elan Ashley Stevens Nynke Hijlkema Sioni Williams Joseph Maher Claudia Tarrant-Matthews Fiona Higham Chair supported by David & Yi Buckley

Alison Strange Nicole Stokes Anna Croad

Violas

David Quiggle Principal Richard Waters Co-Principal Chair supported by Caroline, Jamie & Zander Sharp

Ting-Ru Lai Benedetto Pollani Katharine Leek Laura Vallejo Daniel Cornford

Cor Anglais Peter Facer

Clarinets

Benjamin Mellefont Principal Thomas Watmough Charys Green Paul Richards*

Pei-Jee Ng Principal Chair supported by The Candide Trust

Jean Kim Francis Bucknall Laura Donoghue Gregory Walmsley Susanna Riddell Tom Roff Helen Thomas Sibylle Hentschel Iain Ward

E-flat Clarinets

Thomas Watmough Principal Chair supported by Roger Greenwood

Charys Green

Bass Clarinet

Paul Richards* Principal

Bassoons

Double Basses

Jonathan Davies Principal

Kevin Rundell* Principal Sebastian Pennar

Chair supported by Sir Simon Robey

Gareth Newman Simon Estell*

Co-Principal

George Peniston Tom Walley

Contrabassoon

Chair supported by William & Alex de Winton

Simon Estell* Principal

Laura Murphy Colin Paris Elen Roberts Adam Wynter

Horns

Flutes

Hannah Grayson Clare Childs Stewart McIlwham*

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller Oliver Johnson Jonathan Lipton

Piccolos

Trumpets

John Ryan* Principal Alexander Edmundson Guest Principal

Charlotte Ashton Guest Principal

Stewart McIlwham*

Paul Beniston* Principal Anne McAneney Ryan Linham Ruth Shaddock Erika Curbelo Holly Clarke

Oboes

Offstage Trumpets

Stewart McIlwham* Principal Clare Childs Hannah Grayson

Alto Flute

Chris Evans Matthew Williams William O’Sullivan

Ian Hardwick* Principal Alice Munday Eleanor Sullivan Peter Facer

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Trombones

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

David Whitehouse Benny Vernon

Bass Trombone

Lyndon Meredith Principal

Tuba

David Kendall Guest Principal

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

Jonathan Phillips

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Keith Millar Feargus Brennan Jonathan Phillips

Harp

Rachel Masters Principal

Piano

Katherine Tinker

Celeste Clíodna Shanahan * Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Dr Barry Grimaldi Bianca & Stuart Roden Neil Westreich

London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

© Mark Allan

London Philharmonic Orchestra

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

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

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

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

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

Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski, and a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult.

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

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

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

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

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

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London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

Tonight’s Leader

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

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

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

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

© Benjamin Ealovega

Vesselin Gellev

Bulgarian violinist Vesselin Gellev has been the London Philharmonic Orchestra’s Sub-Leader since 2007.

Praised by the New York Times for his ‘warmth and virtuosic brilliance’, Vesselin has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammy-nominated Absolute Ensemble.

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

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

Prior to joining the LPO, Vesselin was Leader of the New Haven Symphony Orchestra in the USA and the Spoleto Festival Orchestra in Italy. He performs regularly as Guest Leader with numerous orchestras in the UK and abroad including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra, MDR Leipzig Radio Symphony Orchestra, Stavanger Symphony Orchestra, Accademia Nazionale di Santa Cecilia and Orchestra of the Deutsche Oper Berlin.

lpo.org.uk

Vesselin received Bachelor and Master of Music degrees from The Juilliard School, New York, as a student of Robert Mann. He has served on the violin and chamber music faculties of Cornell University in Ithaca, NY and the Eleazar de Carvalho Music Festival in Fortaleza, Brazil.

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London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

Hannu Lintu conductor

Lintu also guest conducts the Netherlands Radio Philharmonic, the Orchestre de la Suisse Romande, the Deutsches Symphonie-Orchester Berlin, the Russian National Philharmonic Orchestra and the Orchestre Philharmonique de Radio France.

© Veikko Kahkonen

Recent engagements include debuts with the Chicago, Boston and Montreal symphony orchestras and the Tonkünstler-Orchester Niederösterreich, and return visits to the Baltimore, St Louis and Cincinnati symphony orchestras, the New Japan Philharmonic Orchestra, the Singapore Symphony Orchestra and the NDR Elbphilharmonie Orchestra. Lintu also regularly conducts at the Savonlinna Festival, most recently for productions of Verdi’s Otello in 2018 and Aulis Sallinen’s Kullervo in 2017, as part of Finland’s centenary celebrations.

With a ‘scrupulous ear for instrumental colour and blend’ (The Washington Post) and bringing ‘a distinctive dynamism to the podium’ (The Baltimore Sun), Hannu Lintu became Chief Conductor of the Finnish National Opera and Ballet in August 2021. This appointment follows a series of hugely successful collaborations with the company – including Tristan und Isolde in 2016, Sibelius’s Kullervo in 2017, Berg’s Wozzeck in 2019 and Strauss’s Ariadne auf Naxos in 2020 – and reflects the conductor’s shifting focus into the field of opera.

The 2021/22 season began with Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci, and future productions will include the majority of the house’s rescheduled Ring Cycle, recommencing with Die Walküre in autumn 2022. Lintu recently completed his eighth and final season as the Finnish Radio Symphony Orchestra’s Chief Conductor. Highlights included Schumann’s Faust Szenen, Berlioz’s La damnation de Faust and the second-ever FRSO Festival – devoted in 2019 to new and large-scale works by national composer Magnus Lindberg.

Hannu Lintu has made several recordings for Ondine, BIS, Naxos, Avie and Hyperion; recent releases include the complete Beethoven Piano Concertos with Stephen Hough; Zimmermann’s Die Soldaten and Violin Concerto with Leila Josefowicz; Lutosławski’s complete symphonies; and works by Kaija Saariaho with Gerald Finley and Xavier de Maistre, all of which feature Lintu’s principal recording partner, the FRSO. Hannu Lintu has received several accolades for his recordings, including two ICMA awards for Bartók’s Violin Concertos with Christian Tetzlaff (2019) and works

by Sibelius featuring Anne Sofie von Otter (2018); a 2021 Grammy nomination in the Best Orchestral Performance category for his recording of Lutosławski’s Symphonies Nos. 2 & 3; a 2011 Grammy nomination for Best Opera CD (Rautavaara’s Kaivos); and Gramophone Award nominations for his recordings of Enescu’s Symphony No. 2 with the Tampere Philharmonic Orchestra and the Violin Concertos of Sibelius and Thomas Adès with Augustin Hadelich and the Royal Liverpool Philharmonic Orchestra.

Hannu Lintu’s last appearance with the London Philharmonic Orchestra was on 25 November 2020, when he conducted a programme of Sibelius, Penderecki, Schubert and Lotta Wennakoski filmed live at the Royal Festival Hall and broadcast on Marquee TV.

Hannu Lintu studied cello and piano at the Sibelius Academy, where he later also studied conducting with Jorma Panula. He participated in masterclasses with Myung-Whun Chung at the L’Accademia Musicale Chigiana in Siena, Italy, and took first prize at the Nordic Conducting Competition in Bergen in 1994.

In autumn 2021 Lintu made his highly anticipated debut with the Opéra national de Paris, conducting Wagner’s Der fliegende Holländer. Other highlights this season include returns to the Chicago Symphony Orchestra, the Tonkünstler-Orchester Niederösterreich, the Gulbenkian Orchestra and the Tampere Philharmonic.

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London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

Lawrence Power viola

Olga Neuwirth’s Remnants of Songs ... an Amphigory, among other works. He enjoys play-directing orchestras from both violin and viola, most recently at the Australian National Academy of Music and with the Norwegian Chamber Orchestra. He also leads his own orchestra, Collegium, made up of fine young musicians from across Europe.

© Jack Liebeck

Lawrence Power is on the faculty at Zurich’s Hochschule der Kunst and gives masterclasses around the world, including at the Verbier Festival. With his intelligent approach to programming, he is often invited to work with venues and festivals as a curator. He has enjoyed residencies at Turner Sims Southampton and with the Aalborg Symphony Orchestra, served as Artistin-Residence with the Bergen Philharmonic Orchestra, and curated a concert series at London’s Kings Place.

He founded and serves as Artistic Director of West Wycombe Chamber Music Festival, which celebrated its tenth anniversary in 2021.

Lawrence Power has advanced the cause of the viola both through the excellence of his performances, whether in recitals, chamber music or concertos, and his passionate advocacy for new music, which has led to a substantial body of fresh repertoire for the instrument by today’s finest composers. To this end, he set up the Viola Commissioning Circle, which is supporting his new Lockdown Commissions, an artistic response to the COVID-19 crisis. He has commissioned short solo works from colleagues such as Huw Watkins, Esa-Pekka Salonen, Cassandra Miller and Erkki-Sven Tüür. As part of his vision for this innovative project, he filmed his performances in shuttered venues across the UK such as the Royal Festival Hall, St John’s Smith Square, Queen’s Hall and Snape Maltings, releasing them on social media. The Viola Commissioning Circle has already funded concertos by Gerald Barry and Anders Hillborg, with future works by Lera Auerbach and Magnus Lindberg, among others.

As a chamber musician Lawrence Power is a member of the Nash Ensemble, performs with the world’s finest players at leading festivals, and regularly collaborates with players including Steven Isserlis, Nicholas Alstaedt, Simon Crawford-Phillips, Vilde Frang, Maxim Vengerov and Joshua Bell.

Lawrence Power was honoured with the 2020 Royal Philharmonic Society Instrumentalist Award, given ‘for the outstanding quality and scope of the performances and work in any context of a solo performer on any instrument in the UK’. His Lockdown Commissions were nominated for the 2021 South Bank Awards in the Classical category. He plays a viola made in Bologna in 1590 by Antonio Brenzi.

Lawrence Power has also given the world premieres of many works written for him, including James MacMillan’s Viola Concerto with the LPO and Vladimir Jurowski at the Royal Festival Hall in 2014, as well as Esa-Pekka Salonen’s Pentatonic Étude, Mark-Anthony Turnage’s Power Play, Julian Anderson’s Prayer, Alexander Goehr’s Hymn to Night and Huw Watkins’s Fantasy.

In concerto repertoire, Power has worked with leading orchestras, from the Chicago and Boston symphony orchestras to the Royal Concertgebouw and Bavarian Radio Symphony orchestras. He has made 12 BBC Proms appearances, with the Walton Viola Concerto, Mark-Anthony Turnage’s On Opened Ground and

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London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

Programme notes Carl Nielsen 1865–1931

Helios Overture, Op. 17 1903

In April 1903 Carl Nielsen and his sculptress wife Anne-Marie were in Athens, stocking up on sunshine following the dark Danish winter. In a room overlooking the Aegean Sea, Nielsen designed an overture that would depict the journey of the sun from dawn to dusk.

‘The sun rises to joyful songs of praise, wanders its golden way, and sinks silently into the sea’, wrote the composer of his new work, the Helios Overture.

Nielsen needn’t have gone to Athens to experience the concept of sun-worship; the revival of ancient Greek ideas had made it as far as his own Danish island, Funen, with its long, distinctive views across flat, undramatic landscapes. The Nordic region was awash with notions of nature, health and physical wellbeing at the start of the 20th century, but Danish ‘Hellenism’ added something else: the idea of an artistic re-birth, a radiant sunrise of creativity.

Nielsen’s career would prove a central element of that awakening, and Helios would form the start of his nineyear obsession with solar energy that culminated in the Third Symphony. But the Overture became something of a touchstone for Denmark, too: it’s still the first piece of music played on Danish radio each New Year, and its radiant freshness, built on Nielsen’s preference for plain, powerful harmonies utilising intervals of the third and fifth, demonstrates why.

The Overture is born of a dark void, a low, held note, from which first light appears courtesy of the softest of horncalls. Eventually the horns arrive at a chorale-like theme that soars above the orchestra – the arrival of dawn, perhaps – before the orchestra brings the colour and activity of day. After violins initiate a scurrying fugue, the orchestra suddenly retreats, and the sun, softer than in the morning, dips behind the oceanic horizon once more.

Programme note © Andrew Mellor

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London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

Programme notes Brett Dean born 1961 LPO Composer-in-Residence

Viola Concerto 2004 Lawrence Power viola 1 Fragment 2 Pursuit 3 Veiled and Mysterious I’ve often mused upon the fact that so much music written for the viola is characterised by a particular sense of melancholy, invariably coupled with a busy, dogged brand of defiance or even gruffness. While we violists may look with a certain envy upon the joyous abandon of the finale of Tchaikovsky’s Violin Concerto, the high drama of the entry of the violin in the Brahms Concerto or the sheer, widescreen magnificence of the Dvořák or Elgar Cello Concertos, we have a particular voice that is uniquely ours, and a very telling and touching one it is too. Largely deprived of such masterworks of the Classical and Romantic periods, viola players generally tend to embrace the music of the 20th and 21st centuries with greater passion than our violin and cello playing colleagues. Here, the solo viola repertoire undoubtedly also has its moments of joy and vigorously positive energy. The last movements of the Bartók Concerto and of Hindemith’s Der Schwanendreher, for example, both lend the viola a folk-inspired voice of singular freshness and exuberance. But when it comes to finding the true essence of the viola’s character, these are perhaps exceptions rather than the rule.

© Bettina Stoess

So it is then a unique privilege and challenge to have the opportunity to now approach the form of the viola concerto as both composer and performer. Above all, it filled me with thoughts about my own relationship with this curiously beautiful, somewhat enigmatic instrument of my choosing. Due to the unusually hands-on

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London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

Programme notes Accompanied by the weaving lines of oboe and cor anglais, the viola, no longer hassled and pursued, guides us to a peaceful, if somewhat ambivalent conclusion with a revisiting of the bird-like harmonics from the middle movement.

directness of writing a concerto for oneself, it also inspired thoughts upon the workings of music itself, removed from any sense of external programmatic influences or stories which inform so many of my other pieces. Hence this work is simply entitled ‘Viola Concerto’.

Programme note © Brett Dean, 2005

More by coincidence than design, the piece follows the traditional concerto shape of three movements. Having completed the substantial second and third movements, I felt the piece required a ‘scene setting’ of some kind.

Thus, the work begins with Fragment, a brief visit to a delicate soundworld in which some of the work’s main motives and instrumental colours are introduced in the orchestra, eventually enticing a high, floating cantilena response from the soloist.

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Fragment, however, serves merely as a short satellite of serenity before the orchestra tumbles into the longer second movement, Pursuit. As its name implies, this is a restless ride for all concerned, presenting the solo viola as a harried, lonely figure fighting against the latent threat of the orchestra, which seems only too keen to burst in and have its say whenever it gets the opportunity. A solo cadenza of bird-call-inspired flageolets and high C-string yearnings forms a fleeting central reprieve before the chase resumes. This is music of jagged virtuosity and rhythmic edginess, the kind of hybrid that might have arisen if Paul Hindemith had played in a band with Tom Waits ...

Recommended recordings of tonight’s works

by Laurie Watt Nielsen: Helios Overture Danish National Symphony Orchestra | Thomas Dausgaard (Naxos)

The piece closes with Veiled and Mysterious, an extended elegy in which the viola sings an unfolding Klagelied over icy sonorities of solo celli and bowed percussion. After a passage of sudden stillness and delicate question marks in the solo voice, the viola’s line develops again in intensity, eventually awakening the orchestra into action, taking over from the viola to emerge in a large-scale tutti section in which statements from throughout the piece are thrown into a melting pot, by turns stark and lyrical. Out of the remnants of this material, the solitary figure of the viola solo resurfaces in an atmosphere of conciliation and dreaminess.

Brett Dean: Viola Concerto Brett Dean viola | Sydney Symphony Orchestra Simone Young (BIS) Mahler: Symphony No. 1 Finnish Radio Symphony Orchestra | Hannu Lintu (Ondine) or London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0070: see page 12)

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

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London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

Programme notes Gustav Mahler 1860–1911

Symphony No. 1 in D 1884–88 1 Langsam. Schleppend – Immer sehr gemächlich [Slow, held back – Always very leisurely] 2 Kräftig bewegt, doch nicht zu schnell – Trio: Recht gemächlich [Moving strongly, but not too fast – Trio: leisurely] 3 Feierlich und gemessen, ohne zu schleppen – Sehr einfach und schlicht wie eine Volksweise [Solemn and measured, without dragging – Very simple, like a folk melody] 4 Stürmich bewegt – Sehr gesangvoll [Tempestuously – Very melodious] Mahler’s suppressed programme for the ‘Symphonic Poem’ labelled its two parts as ‘From the Days of Youth’ (movements 1 and 2) and the Dante-esque ‘Commedia humana’ (movements 3 and 4). Certainly there is a nostalgic feel to the first movement; even though Mahler was only in his mid-20s when he began it, it is filled with sounds remembered from his Moravian childhood, particularly in the spaciousness of the opening pages, which present a wide-open sonic landscape peppered by cuckoo cries and bugle calls from distant barracks.

‘The awakening of nature and early dawn’ was how Mahler described it in his programme, a phenomenon he may well have missed during his busy conducting career. Eventually the music coalesces into melody and moves into the main part of the movement, where again there is a sense of looking back as Mahler borrows a theme from ‘Ging heut’ Morgen übers Feld’, one of his Lieder eines fahrenden Gesellen (‘Songs of a Wayfarer’), composed around the same time as the Symphony was begun. The initially radiant but ultimately darkening song had recalled a youthful love gone wrong, and was inspired by just such an episode in Mahler’s own life. The symphonic movement, however, ends in optimistic vein.

Mahler once told a friend that his First Symphony was ‘the most spontaneous and daringly composed of my works’, a surprising remark when one considers that it probably took him over four years to write (from 1884 to 1888), and that even then it went through several revisions before reaching its final form. At its premiere in November 1889 in Budapest (where Mahler was at that time conductor of the Royal Opera), it had five movements and went under the title of ‘Symphonic Poem in two parts’; for subsequent performances in Hamburg and Weimar it acquired a title – ‘Titan’, after the novel by the German Romantic writer Jean Paul – and also a written programme; and it was not until its fourth performance, in Berlin in 1896, that it emerged as more or less the four-movement ‘Symphony’ we know today (and will hear tonight), without title or programme, and without the original second movement entitled ‘Blumine’ (‘Flowers’).

Clearly his initial feeling that ‘it would be child’s play for performers and listeners’ was somewhat misplaced, and indeed audience reaction to the Symphony in its early years of existence was hostile. That may explain Mahler’s indecision over how to present it but, for all that, this debut by one of the greatest of all symphonists has a bursting energy and freshness that can make the blood run faster in the veins.

The second movement is rustic and strongly rhythmic, Mahler’s affectionate evocation of the rural dances of his childhood and their favourite form, the waltz-like Ländler.

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London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

Programme notes ‘Die zwei blauen Augen’ which offers perhaps the most dreamily reposeful moments in the whole Symphony.

Again there is melodic material derived from a song – ‘Hans und Grethe’ from his Lieder and Gesänge of the early 1880s – though this time less overtly presented and without apparent specific significance. A central ‘Trio’ brings a more graceful mood, before the bucolic lurchings of the first section return.

The mood is shattered by the intrusion of the last movement – ‘Dall’ Inferno al Paradiso, as the sudden cry of a wounded heart’ according to the discarded programme. The movement brings together material from its predecessors, but there is more than a formal struggle going on here. The frenzied anguish of the opening gives way to a long and consoling string theme, but bursts out again, only to be challenged by a new version of the first theme, proposed quietly at first by the trumpets but then quickly growing in confidence.

The ‘Human Comedy’ part of the Symphony opens with a funeral march, though one weirdly based on the nursery tune of ‘Frère Jacques’ (or ‘Bruder Martin’, as Mahler would have known it), initially intoned by a glassily muted solo double bass and then taken up and adorned by the other instruments over statelytreading timpani and basses. Mahler’s programme explains that it was inspired by a well-known engraving from an Austrian children’s book, showing a huntsman’s funeral in which the coffin is attended by an assortment of woodland animals and village musicians. ‘The movement is intended to express alternately the moods of jesting irony and eerie brooding’, Mahler declared; the former can certainly be heard in the episode of Klezmer-like band music that appears twice, but there is also a central episode, based on another Gesellen song,

A return of the nature music of the Symphony’s opening questions the seeming inevitability of the direction things are taking, but eventually the main theme creeps back in on violins to begin its inexorable build towards a final peroration, which, when it comes, is as lifeaffirmingly emphatic as in any Mahler symphony.

Programme note © Lindsay Kemp

Mahler’s Symphony No. 1 on the LPO Label Gustav Mahler: Symphony No. 1 in D major (inc. ‘Blumine’) Vladimir Jurowski conductor London Philharmonic Orchestra £9.99 | LPO-0070 Gustav Mahler: Symphony No. 1 in D major Lieder eines fahrenden Gesellen Klaus Tennstedt conductor Thomas Hampson baritone London Philharmonic Orchestra £9.99 | LPO-0012

All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.

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London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

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

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

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

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

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

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

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

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

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

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

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

London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

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

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

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

Orchestra Circle

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

Principal Associates

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

Associates

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

Gold Patrons

An anonymous donor Chris Aldren David & Yi Buckley David Burke & Valerie Graham David & Elizabeth Challen In memory of Allner Mavis Channing Sonja Drexler The Vernon Ellis Foundation Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Mr Roger Greenwood Malcolm Herring John & Angela Kessler Dame Theresa Sackler

Scott & Kathleen Simpson Eric Tomsett Andrew & Rosemary Tusa The Viney Family Guy & Utti Whittaker

Silver Patrons

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

Marianne Parsons Dr Wiebke Pekrull Mr Gerald Pettit Mr Roger Phillimore Gillian Pole Mr Michael Posen Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Priscylla Shaw Patrick & Belinda Snowball Charlotte Stevenson Mr Robert Swannell Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Jenny Watson CBE Mr John Weekes Christopher Williams

John Nickson & Simon Rew Mr James Pickford Michael & Carolyn Portillo Mr David Russell Colin Senneck & the Hartley and District LPO Group Mr John Shinton Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Joanna Williams Roger Woodhouse Mr John Wright

Principal Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Alexander & Rachel Antelme Julian & Annette Armstrong Lindsay Badenoch Mr Mark Bagshaw & Mr Ian Walker Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Simon Baynham Harvey Bengen Nick & Rebecca Beresford Mr Paul Bland Mr Keith Bolderson Mr Andrew Botterill Julian & Margaret Bowden & Mr Paul Michel Richard & Jo Brass Mr & Mrs Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Mrs Marilyn Casford Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Mr Martin Connelly Mr Stephen Connock Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Miss Sylvia Dowle Patricia Dreyfus Mr Andrew Dyke Mr Declan Eardly Mrs Maureen Erskine Mr Peter Faulk

Anonymous donors Dr R M Aickin Mr Mark Astaire Sir John Baker Tessa Bartley Mr Geoffrey Bateman Mrs Julia Beine Mr Anthony Boswood Dr Anthony Buckland Dr Carlos Carreno Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Andrew Davenport Mr Simon Douglas Mr B C Fairhall Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby Jason George Mr Stephen Goldring Mr Daniel Goldstein Mr Milton Grundy Prof. Emeritus John Gruzelier Nerissa Guest & David Foreman Michael & Christine Henry Mark & Sarah Holford Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Mr Ian Kapur Ms Kim J Koch Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mrs Terry Neale

Bronze Patrons

Anonymous donors Michael Allen Dr Manon Antoniazzi Julian & Annette Armstrong Roger & Clare Barron Mr Philip Bathard-Smith Sir Peter Bazalgette Mikhail Noskov & Vasilina Bindley Mr Bernard Bradbury Sally Bridgeland In memory of Julie Bromley Desmond & Ruth Cecil Mr John H Cook Howard & Veronika Covington John & Sam Dawson Cameron & Kathryn Doley David Ellen Christopher Fraser OBE Virginia Gabbertas MBE David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton J Douglas Home The Jackman Family Mr & Mrs Ralph Kanza Jamie & Julia Korner Rose & Dudley Leigh Drs Frank & Gek Lim Nicholas & Felicity Lyons Geoff & Meg Mann Harriet & Michael Maunsell

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Supporters

London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

Thank you

Mr Joe Field Ms Chrisine Louise Fluker Mr Kevin Fogarty Mr Richard France Mr Bernard Freudenthal Mrs Adele Friedland & Friends Will Gold Mrs Alison Goulter Mr Andrew Gunn Mr K Haines Mr Martin Hale Roger Hampson Mr Graham Hart Mr & Mrs Nevile Henderson The Jackman Family Martin Kettle Mr Justin Kitson Ms Yvonne Lock Mrs Sally Manning Belinda Miles Dr Joe Mooney Christopher & Diane Morcom Dame Jane Newell DBE Oliver & Josie Ogg Mr Stephen Olton Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw Ruth Silvestre Barry & Gillian Smith Mr David Southern Ms Mary Stacey Mr Simon Starr Mrs Margaret Thompson Philip & Katie Thonemann Mr Owen Toller Mrs Rose Tremain Ms Mary Stacey Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Mrs C Willaims Joanna Williams Mr Kevin Willmering Mr David Woodhead

Hon. Life Members

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:

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

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

LPO International Board of Governors

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

Corporate Donors

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

LPO Corporate Circle Leader

Thomas Beecham Group Members

freuds Sunshine

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

Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

Tutti Lazard Russo-British Chamber of Commerce Walpole

Trialist Allianz Musical Insurance Sciteb

Preferred Partners Gusbourne Estate Lidl Lindt & Sprüngli Ltd OneWelbeck Steinway

Hon. Benefactor Elliott Bernerd

In-kind Sponsor Google Inc

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Trusts and Foundations The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Marchus Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute Rothschild Foundation RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation Sir William Boreman’s Foundation Souter Charitable Trust The Stanley Picker Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust The William Alwyn Foundation

and all others who wish to remain anonymous.

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

London Philharmonic Orchestra • 9 February 2022 • Mahler’s First

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

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

Finance

Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Frances Slack Finance Director Dayse Guilherme Finance Manager

General Administration

Jean-Paul Ramotar Finance and IT Officer

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

Education and Community Talia Lash Interim Education and Community Director

Concert Management

Rebecca Parslow Education and Community Project Manager

Roanna Gibson Concerts Director Graham Wood Concerts and Recordings Manager

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

Fabio Sarlo Glyndebourne and Projects Manager

Development

Grace Ko Tours Manager

Laura Willis Development Director

Alison Jones Concerts and Recordings Co-ordinator

Scott Tucker Development Events Manager

Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

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

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Greg Felton Digital Creative Kiera Lockard Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

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

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

Kirstin Peltonen Development Associate

Felix Lo Orchestra and Auditions Manager

Sophie Harvey Digital and Residencies Marketing Manager

Rosie Morden Individual Giving Manager

Nick Jackman Campaigns and Projects Director

Freddie Jackson Assistant Stage Manager

Ruth Knight Press and PR Manager

Mr Chris Aldren Honorary ENT Surgeon

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Laura Kitson Stephen O’Flaherty Stage Managers

Gavin Miller Sales and Ticketing Manager

Stef Woodford Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Sarah Thomas Martin Sargeson Librarians

Harrie Mayhew Website Manager

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