London Philharmonic Orchestra 3 February 2016 concert programme

Concert programme2015/16 London Season

lpo.org.uk

A festival of concerts, talks and exploratory events celebrating the musical legacy of the worlds greatest playwright

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family FoundationPrincipal Guest Conductor ANDRS OROZCO-ESTRADALeader pIETER SChOEMAN supported by Neil WestreichComposer in Residence MAgNUS LINDbERgPatron hRh ThE DUKE OF KENT KgChief Executive and Artistic Director TIMOThY WALKER AM

Contents

2 Welcome 3 Shakespeare4004 About the Orchestra5 Leader: Pieter Schoeman6 On stage tonight7 Yannick Nzet-Sguin8 Lisa Batiashvili Maximilian Hornung9 Programme notes12 Recommended recordings13 Next concerts14 Sound Futures donors15 Supporters16 LPO administration

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

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Southbank Centres Royal Festival hallWednesday 3 February 2016 | 7.30pm

Dvok Overture, Othello (15)

brahms Double Concerto for violin, cello and orchestra (31)

Interval

Dvok Symphony No. 6 (41)

Yannick Nzet-Sguin conductor

Lisa batiashvili violin

Maximilian hornung cello

Free pre-concert event: 'Adapting Othello' 6.006.45pm | Royal Festival hall

Join Professor Russ McDonald, Goldsmiths University, and Professor Clare McManus, University of Roehampton, as they reflect on Othellos popularity with adaptors and composers.

2 | London Philharmonic Orchestra

Welcome

Welcome to Southbank Centre

We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance.

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

If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email [email protected]

We look forward to seeing you again soon.

Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss

A few points to note for your comfort and enjoyment:

phOTOgRAphY is not allowed in the auditorium.

LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance.

RECORDINg is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

MObILES, pAgERS AND WATChES should be switched off before the performance begins.

Orchestra news

2016/17 season now announcedDetails of next season's LPO concerts are now available. Browse the new season brochure online at lpo.org.uk or look out for your copy in the post in the next few days. Booking opens on Thursday 11 February (online and via the LPO Box Office only). To take advantage of priority booking (available now), become a Friend of the London Philharmonic Orchestra for as little as 50 a year. Call Helen Yang on 020 7840 4225 or visit lpo.org.uk/support/memberships

become one of our Shakespeare400Tonight marks the first concert in our Shakespeare400 series, part of a UK-wide festival of concerts, talks and exploratory events celebrating the musical legacy of the worlds greatest playwright. In the 400th year since Shakespeare's death, the London Philharmonic Orchestra will build a community of 400 donors who will contribute to the Shakespeare Festival by either donating to the Shakespeare Appeal or by becoming a member of our Shakespeare Syndicate. For more details visit lpo.org.uk/supportshakespeare, or contact Kathryn Hageman on 020 7840 4212 or email [email protected]

principal Second Violin A new face joins the Orchestra on stage tonight: we extend a very warm welcome to our new Principal Second Violin, Andrew Storey. Andrew joins us from the Royal Philharmonic Orchestra where he was Principal Second Violin. He has worked as a guest principal with the Philharmonia, BBC Symphony, Hall, Orchestra of the Royal Opera House, ENO and various chamber orchestras. His free time is consumed by his four children and two cats. Of his appointment he says: Im really excited about my move to the LPO. Its a fantastic orchestra of brilliant musicians and lovely people. Im particularly looking forward to the exciting repertoire ahead at Royal Festival Hall and getting to know lots of operas at Glyndebourne. Meet our members: lpo.org.uk/players

Welcome to the first concert in our Shakespeare400 series, part of a UK-wide festival of concerts, talks and exploratory events celebrating the musical legacy of the worlds greatest playwright, William Shakespeare.

For four and a half centuries, the most admired playwright and poet in history has inspired music both intimate and grand, devastating and uplifting. Shakespeares body of plays and poems has exercised more influence over composers and musicians than anything else in literature bar the Bible, and continues to inspire across the generations of today.

In collaboration with some of Londons leading cultural, creative and educational institutions, the London Philharmonic Orchestra joins Shakespeare400 with a celebration of the Bards love of music, and his influence on it. Join the LPO at Southbank Centres Royal Festival Hall this year for a celebration of creativity and collaboration, and dive into a musical world born of the words of the legendary William Shakespeare.

lpo.org.uk/shakespeare

Wednesday 27 January 2016 | 6.00pmHamlet in Russia: Shostakovichs Hamlet

Wednesday 10 February 2016 | 5.00pmNew Horizons: Inspired by Shakespeare

Saturday 5 March 2016 | 6.00pmFoyle Future Firsts: Ophelia Dances

Saturday 9 April 2016 | 6.00pmLPO Soundworks & Quicksilver:

Inspired by Shakespeare

Saturday 30 April 2016 | post-concert RCM Big Band: Such Sweet Thunder

Wednesday 3 February 2016 | 7.30pm Dvok | Othello

Wednesday 10 February 2016 | 7.30pm Sibelius | The Tempest

Friday 12 February 2016 | 7.30pm | JTI Friday Series Nicolai | The Merry Wives of Windsor

Friday 26 February 2016 | 7.30pm | JTI Friday Series R Strauss | Macbeth

Mendelssohn | A Midsummer Nights Dream

Friday 15 April 2016 | 7.30pm | JTI Friday Series Prokofiev | Romeo and Juliet

Saturday 23 April 2016 | 7.30pm Anniversary Gala Concert

featuring very special guests

Sunday 5 June 2016 | 7.30pm FUNharmonics Family Concert | Bottoms DreamCo

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Wednesday 3 February 2016 | 6.00pm Adapting Othello

Wednesday 10 February 2016 | 6.00pmLate works of Shakespeare and others

Friday 12 February 2016 | 6.00pmShakespeares Windsor

Friday 26 February 2016 | 6.00pmThe Macbeths

Friday 15 April 2016 | 6.00pmThink you know Romeo & Juliet?P

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Welcome to


London Philharmonic Orchestra

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UKs most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups.

The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the worlds greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestras Principal Conductor and Artistic Advisor, appointed in 2007. Andrs Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestras current Composer in Residence.

The Orchestra is resident at Southbank Centres Royal Festival Hall in London, where it gives over 30 concerts each season. Throughout 2014/15 the Orchestra gave a series of concerts entitled Rachmaninoff: Inside Out, a festival exploring the composers major

orchestral masterpieces. 2015/16 is a strong season for singers, with performances by Toby Spence and Anne Sofie von Otter amongst others; Sibelius enjoys 150th anniversary celebrations; distinguished visiting conductors include Stanisaw Skrowaczewski, Jukka-Pekka Saraste and Vasily Petrenko, with Robin Ticciati returning after his debut in 2015; and in 2016 the LPO joins many of Londons other leading cultural institutions in Shakespeare400, celebrating the Bards legacy 400 years since his death. The Orchestra continues its commitment to new music with premieres of commissions including Magnus Lindbergs Second Violin Concerto and Alexander Raskatovs Green Mass.

Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of

It was one of those unforgettable evenings where everything and everyone performed beautifully [with] an extraordinary performance by the London Philharmonic ... The ovation should have been standing.Andrew Collins, The News, March 2015

London Philharmonic Orchestra | 5

the Orchestras life: highlights of the 2015/16 season include visits to Mexico City as part of the UK Mexico Year of Culture, Spain, Germany, the Canary Islands, Belgium, a return to the Concertgebouw, Amsterdam and the Orchestras premiere at La Scala, Milan.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download. Recent additions include Rachmaninoff's Symphony No. 3 and Ten Songs under Vladimir Jurowski, and archive recordings of Mahler Symphonies and Beethovens Symphony No. 5 conducted by Klaus Tennstedt.

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

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter.

lpo.org.uk

facebook.com/londonphilharmonicorchestra

twitter.com/LpOrchestra

youtube.com/londonphilharmonic7

instagram.com/londonphilharmonicorchestra

Pieter Schoemanleader

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Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning

numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow's Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre's Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London's prestigious Wigmore Hall.

As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Prt's Double Concerto with Boris Garlitsky, Brahms's Double Concerto with Kristina Blaumane, and Britten's Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra's own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.

In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter's chair in the London Philharmonic Orchestra is supported by Neil Westreich.


On stage tonight

First ViolinsPieter Schoeman* Leader

Chair supported by Neil Westreich

Yang XuVesselin Gellev

Sub-LeaderIlyoung Chae

Chair supported by an anonymous donor

Ji-Hyun LeeChair supported by Eric Tomsett

Katalin VarnagyChair supported by Sonja Drexler

Catherine CraigThomas EisnerMartin Hhmann

Chair supported by The Jeniffer and Jonathan Harris Charitable Trust

Geoffrey LynnChair supported by Caroline, Jamie & Zander Sharp

Robert PoolSarah StreatfeildYang ZhangGrace LeeRebecca ShorrockCaroline Sharp

Second ViolinsAndrew Storey PrincipalKate Birchall

Chair supported by David & Victoria Graham Fuller

Nancy ElanLorenzo Gentili-TedeschiFiona HighamNynke HijlkemaJoseph MaherMarie-Anne MairesseAshley StevensDean Williamson Helena NichollsSioni WilliamsElizabeth BaldeyJohn Dickinson

ViolasBenjamin Roskams

Guest PrincipalRobert DuncanGregory AronovichKatharine Leek Susanne MartensBenedetto PollaniEmmanuella ReiterLaura VallejoNaomi HoltDaniel CornfordMartin FennRichard Cookson

CellosKristina Blaumane

PrincipalChair supported by Bianca and Stuart Roden

Pei-Jee NgFrancis BucknallLaura DonoghueSantiago CarvalhoDavid LaleGregory WalmsleyElisabeth Wiklander

Chair supported by The Viney Family

Susanna RiddellTom Roff

Double bassesKevin Rundell* PrincipalGeorge Peniston Laurence LovelleTom WalleyLowri MorganCharlotte KerbegianHelen RowlandsLaura Murphy

FlutesSue Thomas* Principal

Chair supported by Victoria Robey OBE

Stewart McIlwham*

piccoloStewart McIlwham*

PrincipalChair supported by Friends of the Orchestra

OboesIan Hardwick* PrincipalAlice Munday

Cor AnglaisSue Bhling* Principal

ClarinetsRobert Hill* PrincipalThomas Watmough

bassoonsGareth Newman PrincipalSimon Estell

hornsDavid Pyatt* Principal

Chair supported by Simon Robey

John Ryan* PrincipalChair supported by Laurence Watt

Martin HobbsMark Vines Co-PrincipalGareth Mollison

TrumpetsPaul Beniston* PrincipalAnne McAneney*

Chair supported by Geoff & Meg Mann

TrombonesMark Templeton* Principal

Chair supported by William & Alex de Winton

David Whitehouse

bass TrombonePaul Lambert

TubaLee Tsarmaklis* Principal

TimpaniSimon Carrington* Principal

percussionAndrew Barclay* Principal

Chair supported by Andrew Davenport

Henry Baldwin Co-PrincipalChair supported by Jon Claydon

harpRachel Masters* Principal

* Holds a professorial appointment in London

Chevalier of the Brazilian Order of Rio Branco

Meet our members: lpo.org.uk/players


Yannick Nzet-Sguinconductor

Yannick Nzet-Sguin is Music Director of The Philadelphia Orchestra and the Rotterdam Philharmonic Orchestra. He has conducted all the major ensembles in his native Canada and has been Artistic Director and Principal Conductor of the Orchestre Mtropolitain (Montreal) since 2000. He continues to enjoy a close collaboration with the London Philharmonic Orchestra, of which he was Principal Guest Conductor from 200814.

Yannick Nzet-Sguin has worked with many fine ensembles in Europe including the Dresden Staatskapelle, Berlin Philharmonic, Staatskapelle Berlin, Bavarian Radio Symphony Orchestra, Vienna Philharmonic, Accademia Nazionale di Santa Cecilia, Royal Stockholm Philharmonic and Chamber Orchestra of Europe. Following his 2009 BBC Proms debut (Scottish Chamber Orchestra), he returned the following year and more recently in 2013 with the Rotterdam Philharmonic. He has also appeared at festivals in Edinburgh, San Sebastin, Santander and Grafenegg, as well as in North America at the Lanaudiere Festival, Bravo! Vail Music Festival, Saratoga Festival and the Mostly Mozart Festival.

A notable opera conductor, Yannicks regular engagements at The Metropolitan Opera in New York have seen him conduct Rusalka, La traviata, Faust and Don Carlo in recent seasons. He has also appeared at the Salzburg Festival, Teatro alla Scala, the Royal Opera House, Covent Garden, and the Netherlands Opera.

Highlights of last season included a North American tour with the Rotterdam Philharmonic Orchestra and a European tour with The Philadelphia Orchestra. Yannick also continued as Artist in Residence at the Konzerthaus Dortmund.

Yannick began 2015/16 conducting the Metropolitan Operas season-opener of Otello, followed by Elektra at the Opra de Montral. In addition to his commitments with The Philadelphia Orchestra and the Rotterdam Philharmonic, further highlights include projects with the Vienna Philharmonic, Berlin Philharmonic and Bayerischer Rundfunk Munich, and a return to the Salzburg Festival with the Chamber Orchestra of Europe.

Recent additions to Nzet-Sguins extensive discography include the complete Schumann symphonies and Cos fan tutte with the Chamber Orchestra of Europe; The Rite of Spring and Rachmaninoff Variations with Daniil Trifonov and The Philadelphia Orchestra; and a Tchaikovsky disc with the Rotterdam Philharmonic Orchestra. He also enjoys a fruitful recording relationship with the London Philharmonic Orchestra for its own label (most recently organ works by Poulenc and Saint-Sans, LPO-0081).

A native of Montreal, Yannick Nzet-Sguin studied at the Conservatoire de musique du Qubec in Montreal, and choral conducting at the Westminster Choir College in Princeton, New Jersey, before going on to study with renowned conductors, most notably the Italian maestro Carlo Maria Giulini. His honours include a Royal Philharmonic Society Award; Canadas National Arts Centre Award; and the Prix Denise-Pelletier, the highest distinction for the arts awarded by the Quebec government. He was appointed a Companion of the Order of Canada in 2012.

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Nzet-Sguin may just be the most compelling, most accomplished conductor of his generation.The Financial Times


Lisa Batiashviliviolin

Lisa Batiashvili, Musical Americas 2015 Instrumentalist of the Year, is this seasons Artist in Residence with the Tonhalle-Orchester Zrich. The Georgian violinist has developed long-term relationships with some of the worlds leading orchestras, including the New York

Philharmonic, with whom she was Artist in Residence last season.

Highlights of this season include performances with the Berlin Philharmonic (also under Yannick Nzet-Sguin), Orchestre de Paris (Paavo Jrvi), Vienna Philharmonic (Esa-Pekka Salonen), London Symphony Orchestra (Daniel Harding) and New York Philharmonic (Semyon Bychkov), as well as a European tour with the Royal Stockholm Philharmonic Orchestra (Sakari Oramo). She also performs in a series of recitals with Gautier Capuon, Frank Braley, Valery Sokolov and Grard Causse, celebrating the 100th anniversary of Henri Dutilleux's birth. These will take place at Wigmore Hall, London; Concertgebouw, Amsterdam; Musikverein, Vienna; Philharmonie 2, Paris; and Tonhalle Zrich.

Recent and forthcoming invitations include concerts at home and on tour with the Royal Concertgebouw Orchestra, Staatskapelle Dresden, Bavarian Radio Symphony Orchestra, Chamber Orchestra of Europe, The Philadelphia Orchestra and Boston Symphony Orchestra. Last season Lisa performed with Filarmonica della Scala and Staatskapelle Berlin (both under Daniel Barenboim), and Orchestra dellAccademia Nazionale di Santa Cecilia (Sir Antonio Pappano).

Recording exclusively for Deutsche Grammophon, Lisas most recent release is an album of works by J. S. and C. P. E. Bach, featuring, among others, Franois Leleux and Emmanuel Pahud. Earlier recordings include the Brahms Violin Concerto with Staatskapelle Dresden (Christian Thielemann) and Shostakovichs Violin Concerto No. 1 with the Bavarian Radio Symphony Orchestra (Esa-Pekka Salonen). She has also recorded the Beethoven, Sibelius and Lindberg concertos for Sony.

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With his striking musicality, instinctive stylistic certainty and musical maturity, the young cellist Maximilian Hornung, whose career began when he won the German Music Councils Competition in 2005, is taking the international music scene by storm. He received an ECHO

Klassik prize as best newcomer of the year for his first Sony CD in 2011, followed by an ECHO Klassik prize for the best cello concerto recording of the year for his recording of Dvoks Cello Concerto with the Bamberg Symphony under Sebastian Tewinkel in 2012.

In August 2014 he made his debut at the Salzburg Festival with the Philharmonia Orchestra and Esa-Pekka Salonen. The same year he produced a CD of Richard Strauss's most important works for cello, as well as a CD of the cello concertos of Joseph Haydn and Vaja Azarashvili with the Kammerakademie Potsdam under Antonello Manacorda on Sony Classical.

Particular highlights in the 2015/16 season include his performances of Brahms's Double Concerto with Anne-Sophie Mutter and the Bavarian Radio Symphony Orchestra under Mariss Jansons, as well as his US debut with The Florida Orchestra under Michael Francis, performing Tchaikovskys Rococo Variations.

Born in Augsburg, Germany, in 1986, Maximilian Hornung began cello lessons at the age of eight. His teachers were Eldar Issakadze, Thomas Grossenbacher and David Geringas. As cellist of the Tecchler Trio, in which he played until 2011, he won the First Prize of the ARD Music Competition in 2007. Maximilian Hornung is supported and sponsored by the Anne-Sophie Mutter Circle of Friends Foundation and Borletti-Buitoni Trust London.

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For Antonn Dvok, Brahms was hero, mentor, encourager, and ultimately someone against whom to test himself. On one level Dvoks Sixth Symphony is touchingly indebted to Brahmss Second, on another its pure Dvok, melodically generous and captivating, and full of the flavour of the Czech folk music Dvok had known since he was in his cradle. The powerfully original Othello Overture is another matter. Composed eleven years after the Sixth Symphony, it opens up territory Brahms hesitated even to contemplate. Othello is a highly charged and atmospheric psychological study in love and jealousy as forces of nature. It is

possible to make out elements of Shakespeares story, but better perhaps to surrender to the current of its ideas, and let the music carry one forward to its inevitable tragic conclusion. In between these two works sits Brahmss Double Concerto for violin, cello and orchestra. In part this looks back longingly to the classical and baroque eras, when concertos for teams of soloists rather than one egoistic star soloist were common. Yet the recitative-like section at the heart of the slow movement, more love duet than virtuoso concerto, is one of the most tenderly revealing things Brahms ever wrote.

Speedread

As Dvok approached his 50th birthday in 1891, he began to conceive a grand new project. He must have had at the back of his mind the example of fellow Czech Bedrich Smetanas Ma Vlast (My Country) six independent tone-poems which, played together, add up to a kind of super-tone-poem. What Dvok wanted to express was in essence a philosophy of life. He had the idea of doing so in three connected tone-poems or overtures viable as separate statements but also playable together as a triptych. At first he wasnt sure what exactly to call these three connected pieces, but eventually it clarified in his mind as Nature, Life & Love. The philosophical element is the illustration of how those three crucial expressions of the life force are interconnected. Eventually though, possibly after pressure from his publisher, Dvok chose three individual titles: In Natures Realm, Carnival and Othello. Thats how they were printed, and soon afterwards they

began to take on independent life, with Carnival the most popular, then In Natures Realm, then Othello.

Othellos relative neglect is strange, as it is the most powerful and strikingly original of the three overtures. Like Shakespeares play, Dvoks Othello is focussed on the dark side of human love jealousy, the green-eyed monster that doth mock the meat it feeds on and how destructive that can be to even the noblest natures. There may well have been an element of autobiography here. In his youth Dvok had experienced powerful but unrequited love for one of his pupils, Josefina ermkva. No doubt there were strong feelings of jealousy when she accepted another suitor. Dvok eventually married Josefinas younger sister, Anna, but the memory of that pain seems to have lingered. The beautiful opening, hymn-like on muted strings, could be an image of ideal love, or perhaps

Programme notes

Overture, Othello, Op. 93AntonnDvok

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Programme notes continued

its the sleeping Desdemona, the innocent target of Othellos inflamed suspicions. But soon darker passions erupt, and one particularly eerie passage towards the climax (flickering flutes, quietly clashed cymbals, sinister muted horn) surely shows us Othello himself approaching Desdemonas chamber with murder in mind. It all ends, as it only can, in rage and despair.

The concerto was one of the most popular of all musical forms in the 19th century. This was the era of the romantic virtuoso soloist: audiences loved the idea of the superhuman individual taking on the might of the full symphony orchestra and emerging victorious. What a perfect vehicle for an age intoxicated with dashing, sensational figures like the poet Byron, the violinist Niccolo Paganini and the pianist-composer Franz Liszt. Something of this romantic spirit the suffering, striving, intensely charismatic soloist pitted against the elemental force of the orchestra can be felt in Brahmss First Piano Concerto, composed during 18548.

But Brahms was a paradoxical figure its one of the things that makes him so fascinating. Part of him was romantic to the core: a lonely misfit, sustained by an impossible love, laying bare his wounded heart in song after song (especially in the wonderful Alto Rhapsody). Yet there was another part of him that longed for something else: the contained formal strength and subtlety of great classical and baroque masters like Haydn and Mozart, Bach and Handel, and for the emotional objectivity that they offered.

The Double Concerto for violin, cello and orchestra, composed in 1887, embodies this paradox magnificently. It contains some of Brahmss most

romantically expressive music: strikingly the almost operatic love duet for violin and cello at the heart of the slow central movement. The first cello solo, only a few seconds into the first movement, is marked in modo dun recitativo the style of a recitative a direct acknowledgement of the musics operatic character by a composer who never wrote an opera. And yet this is a concerto with two soloists. Concertos with more than one star in the spotlight were common enough in baroque times (think of Bachs glorious Double Concerto in D minor for two violins). Brahms also knew and valued Mozarts Sinfonia Concertante, with solo violin and viola, and Beethovens Triple Concerto for piano trio and orchestra. But in the romantic era the solo concerto had apparently conquered all theres no room for more than one hero in the Byronic universe. In reverting to what would have been considered a strange, outmoded form at the time, Brahms showed that he was also not of his time.

Structurally it is more compact than any of the solo concertos. In the first movement particularly, the solo violin and cello writing can be stirringly theatrical (visually as well as aurally), but Brahms is also careful to keep the solo contributions on an equal footing, as in chamber music. Soon after the cellos opening recitative solo the violin has its turn in the spotlight,

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Double Concerto in A minor for violin, cello and orchestra, Op. 102

Lisa batiashvili violinMaximilian hornung cello

1 Allegro2 Andante3 Vivace non troppo


It often needs only a simple stroke to transform a lame musical idea into a vibrant one. Dvoks first conception for the opening movement of his Sixth Symphony was a rather square tune in D minor, based on a Czech folksong, trotting along amiably enough in two beats to a bar. Then inspiration struck: the key changed from minor to major, and a fast three-time replaced the original two. The result was a theme with a wonderful swinging momentum, like an airborne waltz. The potential for development is now clear, and its no surprise that from this beginning Dvok was able to create his first truly great symphonic first movement.

Something else that is new about the Sixth Symphony is the complete assurance of the orchestral writing. There are fine magical touches of instrumental colour in Dvoks earlier symphonies, but there are also passages where the textures can sound muddy or coarse-grained. The freshness and refinement of the Sixths sound-world is never compromised; and here for the first time in an orchestral work we sense how much of Dvoks thinking was influenced by nature birdsong and the sounds of wind and water as well as the uncultivated music of the rural communities. This new mastery may have been partly due to encouragement from the outstanding

only now with comments from the cello, with the two instruments finally fusing in rich fortissimo chords. Later, in the lyrical second theme, the conversation between the two turns subtler, more confidential, and the orchestra tactfully restrains its power to allow the soloists to speak more clearly.

This relationship issue is also crucial in the central slow movement. After a short horn and woodwind introduction, violin and cello launch out together in one of those wonderful long-breathed tunes that are such a signature of Brahmss style. Yet in the middle section violin and cello now enact an almost operatic love duet, passing ideas to each other now tenderly, now with impassioned urgency. The folk-coloured finale offers a refreshing contrast, but the dialogue element remains important, until at last both players join in a

bravura display guaranteed to bring the house down. There may be a personal element in all this. In 1880 Brahms had a serious falling out with his close friend and collaborator, the virtuoso violinist and composer Joseph Joachim. The Double Concerto seems to have been conceived partly as a peace offering to Joachim. Yet its striking that Brahms did not offer his old friend another violin concerto, but a work in which the violin must come to an accommodation with the cello an instrument Brahms loved and wrote for with great feeling. Hearing the Double Concerto for the first time, Brahmss friend, confidante and ideal love Clara Schumann wrote that This Concerto is in a way a work of reconciliation, adding that Joachim and Brahms have spoken to one another again after years of silence a comment that could be applied just as readily to the music itself.

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

Symphony No. 6 in D, Op. 60

1 Allegro non tanto2 Adagio3 Scherzo (Furiant): Presto4 Finale: Allegro con spirito

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18411904


conductor Hans Richter originally a Wagnerian but increasingly sympathetic to Dvoks champion Brahms. In 1879 Richter gave a fine performance of Dvoks Third Slavonic Rhapsody in Berlin in the presence of the composer. Not only was the audience enthusiastic, but Richter dragged Dvok out of his seat and embraced him on the concert platform. Afterwards Richter took Dvok to dinner and made the composer promise to write a symphony for Richter himself to conduct. The result was the Symphony No. 6, completed in the summer of 1880 after a couple of false starts (like the one described above). Dvok clearly realised that he had to turn out something extra-special for a conductor like Richter, which may explain why the first movements leading idea took time to shape itself.

A song-like Adagio follows the sustained flight of the first movement. Then comes a more direct invocation of Czech folk music in the Scherzo. The subtitle is Furiant: a reference to a wild dance in a constantly shifting rhythm, reflected in the recurring ONE-two ONE-two ONE-two ONE-two-three ONE-two-three pattern of Dvoks main theme. A gentler pastoral Trio section follows, in which Dvok makes unusual lyrical use of a solo piccolo. The Finale makes no secret of its debt to Brahms: the first theme of this movement and that of Brahmss Second Symphony (also in D major) are clearly related. But this is

Programme notes continued

Recommended recordings of tonights works

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

Dvok: Overture, Othello Czech Philharmonic Orchestra | Vladimir Ashkenazy [Ondine/New World]

brahms: Double Concerto for violin and cello Gil Shaham | Jian Wang | Berlin Philharmonic Orchestra | Claudio Abbado [DG]

Dvok: Symphony No. 6 Czech Philharmonic Orchestra | Charles Mackerras [Supraphon]

Saturday 20 February 2016Southbank CentreS royal FeStival hallConCert 12pm1pmaCtivitieS 10am12pmlondon philharmoniC orCheStratim redmond ConduCtor

Child 59 | adult 1018 lpo.org.uk/funharmonics | See booking details on page 13

an act of homage, not of theft, and the movement as a whole is fully independent in spirit, building confidently to one of Dvoks most exhilarating endings.

Programme notes Stephen Johnson

FunharmoniCS Family ConCert

FUNharmonics foyer activities are generously supported by The Jeniffer and Jonathan Harris Charitable Trust, Jupiter Music, Wood, Wind & Reed and Stentor Music Co. Ltd.This concert is part of Southbank Centres Imagine Childrens Festival


Friday 12 February | 7.30pmJTI FRIDAY SERIES

Nicolai Overture, The Merry Wives of Windsor

Korngold Violin Concerto Elgar Symphony No. 1

Osmo Vnsk conductor hyeyoon park violin

Wednesday 24 February | 7.30pm

Tchaikovsky Violin Concerto Tchaikovsky Manfred Symphony

Vasily petrenko conductor Augustin hadelich violin

Friday 5 February | 7.30pmJTI FRIDAY SERIES

gershwin Piano Concerto in F Rachmaninoff Symphony No. 2

Yannick Nzet-Sguin conductor Jean-Yves Thibaudet piano

Wednesday 10 February | 7.30pm

Dvok Piano Concerto Sibelius The Tempest: excerpts from the Incidental Music

Osmo Vnsk conductor Stephen hough piano Lilli paasikivi mezzo soprano Simon Callow narrator

Next concerts at Royal Festival Hall

pLAYINg ThE bARD IN 2016

In collaboration with some of Londons leading cultural, creative and educational institutions, the London Philharmonic Orchestra joins Shakespeare400 with a series of concerts this year celebrating the Bards love of music.

FIND OUT MORE: LpO AND ShAKESpEARE400lpo.org.uk/shakespeare

Tickets 939 (premium seats 65)

London philharmonic Orchestra Ticket Office: 020 7840 4242 MondayFriday 10.00am5.00pm lpo.org.uk Transaction fees: 1.75 online, 2.75 telephone.


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 CircleArts Council EnglandDunard FundVictoria Robey OBEEmmanuel & Barrie RomanThe Underwood Trust

Welser-Mst CircleWilliam & Alex de Winton John Ireland Charitable TrustThe Tsukanov Family FoundationNeil Westreich

Tennstedt CircleValentina & Dmitry Aksenov Richard BuxtonThe Candide TrustMichael & Elena KroupeevKirby Laing FoundationMr & Mrs MakharinskyAlexey & Anastasia ReznikovichSimon RobeyBianca & Stuart RodenSimon & Vero TurnerThe late Mr K Twyman

Solti patronsAgeas John & Manon AntoniazziGabor Beyer, through BTO

Management Consulting AGJon ClaydonMrs Mina Goodman & Miss

Suzanne GoodmanRoddy & April GowThe Jeniffer & Jonathan Harris

Charitable Trust Mr James R.D. KornerChristoph Ladanyi & Dr Sophia

Ladanyi-CzerninRobert Markwick & Kasia RobinskiThe Maurice Marks Charitable TrustMr Paris Natar

The Rothschild FoundationTom & Phillis SharpeThe Viney Family

haitink patronsMark & Elizabeth AdamsDr Christopher AldrenMrs Pauline BaumgartnerLady Jane BerrillMr Frederick BrittendenDavid & Yi Yao BuckleyMr Clive ButlerGill & Garf CollinsMr John H CookMr Alistair CorbettBruno de KegelGeorgy DjaparidzeDavid EllenChristopher Fraser OBE & Lisa FraserDavid & Victoria Graham FullerGoldman Sachs InternationalMr Gavin GrahamMoya GreeneMrs Dorothy HambletonTony & Susie HayesMalcolm HerringCatherine Hgel & Ben MardleMrs Philip KanRehmet Kassim-Lakha de MorixeRose & Dudley LeighLady Roslyn Marion LyonsMiss Jeanette MartinDuncan Matthews QCDiana & Allan Morgenthau

Charitable TrustDr Karen MortonMr Roger PhillimoreRuth RattenburyThe Reed FoundationThe Rind FoundationSir Bernard RixDavid Ross & Line Forestier (Canada)

Carolina & Martin SchwabDr Brian SmithLady Valerie SoltiMr & Mrs G SteinDr Peter StephensonMiss Anne StoddartTFS Loans LimitedLady Marina Vaizey Jenny WatsonGuy & Utti Whittaker

pritchard DonorsRalph & Elizabeth Aldwinckle Mrs Arlene BeareMr Patrick & Mrs Joan BennerMr Conrad BlakeyDr Anthony BucklandPaul CollinsAlastair CrawfordMr Derek B. GrayMr Roger GreenwoodThe HA.SH FoundationDarren & Jennifer Holmes Honeymead Arts TrustMr Geoffrey KirkhamDrs Frank & Gek LimPeter MaceMr & Mrs David MalpasDr David McGibneyMichael & Patricia McLaren-TurnerMr & Mrs Andrew NeillMr Christopher QuereeThe Rosalyn & Nicholas Springer

Charitable TrustTimothy Walker AMChristopher WilliamsPeter Wilson SmithMr Anthony Yolland

and all other donors who wish to remain anonymous


We would like to acknowledge the generous support of the following Thomas beecham group patrons, principal benefactors and benefactors:

Thomas beecham group

The Tsukanov Family Foundation

Neil Westreich

William and Alex de Winton Mrs Philip Kan* Simon Robey Victoria Robey OBE Bianca & Stuart Roden Laurence Watt

Anonymous Jon Claydon Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller The Jeniffer and Jonathan Harris

Charitable TrustMr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds* Eric Tomsett The Viney Family

John & Manon Antoniazzi Jane Attias David Goldstone CBE LLB FRICS John & Angela Kessler Guy & Utti Whittaker

* BrightSparks Patrons: instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools concerts.

principal benefactorsMark & Elizabeth AdamsDavid & Yi Yao BuckleyDesmond & Ruth CecilMr John H CookMr Bruno de KegelDavid EllenMr Daniel GoldsteinDrs Frank & Gek LimPeter MacDonald EggersDr Eva Lotta & Mr Thierry SciardMr & Mrs David MalpasMr & Mrs G SteinMr & Mrs John C TuckerMr & Mrs John & Susi UnderwoodLady Marina VaizeyGrenville & Krysia WilliamsMr Anthony Yolland

benefactorsMr Geoffrey BatemanMrs A BeareMs Molly BorthwickDavid & Patricia BuckMrs Alan CarringtonMr & Mrs Stewart CohenMr Alistair CorbettMr Timothy Fancourt QCMr Richard FernyhoughMr Gavin GrahamWim and Jackie Hautekiet-ClareTony & Susan HayesMr Daniel Heaf and Ms Amanda HillMichael & Christine HenryMalcolm Herring

J. Douglas HomeIvan HurryMr Glenn HurstfieldPer JonssonMr Gerald LevinWg. Cdr. & Mrs M T Liddiard OBE JP RAFPaul & Brigitta LockMr Peter MaceMs Ulrike ManselMr Robert Markwick and Ms Kasia Robinski Mr Brian MarshAndrew T MillsDr Karen MortonMr & Mrs Andrew NeillMr Michael PosenAlexey & Anastasia ReznikovichMr Konstantin SorokinMartin and Cheryl SouthgateMr Peter TausigSimon and Charlotte WarshawHoward & Sheelagh WatsonDes & Maggie WhitelockChristopher WilliamsBill Yoe

and others who wish to remainanonymous

hon. benefactorElliott Bernerd

hon. Life MembersKenneth Goode Carol Colburn Grigor CBE Pehr G GyllenhammarMrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged:

Corporate Members

Silver: Accenture BerenbergCarter-Ruck We are AD

bronze: Appleyard & Trew LLPBTO Management Consulting AGCharles Russell SpeechlysLazardRusso-British Chamber of Commerce Willis Towers Watson

preferred partners Corinthia Hotel London Heineken Lindt & Sprngli LtdSipsmith Steinway Villa Maria

In-kind SponsorGoogle Inc

Trusts and Foundations Angus Allnatt Charitable Foundation Axis Foundation The Bernarr Rainbow Trust The Boltini TrustBorletti-Buitoni TrustThe Candide Trust Cockayne Grants for the Arts The DOyly Carte Charitable TrustDunard FundThe Equitable Charitable Trust The Foyle FoundationLucille Graham TrustThe Jeniffer and Jonathan Harris

Charitable TrustHelp Musicians UK The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group FoundationLord and Lady Lurgan Trust Marsh Christian TrustAdam Mickiewicz Institute The Peter Minet Trust

The Ann and Frederick OBrienCharitable Trust

Office for Cultural and Scientific Affairs ofthe Embassy of Spain in London

The Austin and Hope Pilkington Trust The Stanley Picker Trust The Radcliffe TrustRivers Foundation The R K Charitable TrustRVW Trust Schroder Charity TrustSerge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw FoundationThe Tillett Trust UK Friends of the Felix-Mendelssohn-

Bartholdy-Foundation The Viney FamilyGarfield Weston FoundationThe Barbara Whatmore Charitable Trust

and all others who wish to remain anonymous


Administration

board of Directors

Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-PresidentDr Manon Antoniazzi Roger BarronRichard Brass Desmond Cecil CMG Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Hgel Rachel Masters* George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines*Timothy Walker AM Laurence WattNeil Westreich David Whitehouse** Player-Director

Advisory Council

Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness ShackletonLord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Martin SouthgateSir Philip Thomas Sir John TooleyChris VineyTimothy Walker AMElizabeth Winter

American Friends of the London philharmonic Orchestra, Inc.

Jenny Ireland Co-ChairmanWilliam A. Kerr Co-ChairmanKyung-Wha Chung Xenia HanusiakAlexandra JupinJill Fine MainelliKristina McPhee David Oxenstierna Harvey M. Spear, Esq.Danny Lopez Hon. ChairmanNoel Kilkenny Hon. DirectorVictoria Robey OBE Hon. DirectorRichard Gee, Esq Of Counsel Jenifer L. Keiser, CPA,EisnerAmper LLP

Stephanie Yoshida

Chief Executive

Timothy Walker AM Chief Executive and Artistic Director

Amy SugarmanPA to the Chief Executive / Administrative Assistant

Finance

David BurkeGeneral Manager and Finance Director

David GreensladeFinance and IT Manager

Dayse GuilhermeFinance Officer

Concert Management

Roanna Gibson Concerts Director

Graham WoodConcerts and Recordings Manager

Jenny Chadwick Tours Manager

Tamzin Aitken Glyndebourne and UK Engagements Manager

Alison JonesConcerts and Recordings Co-ordinator

Jo CotterTours Co-ordinator Orchestra personnel

Andrew CheneryOrchestra Personnel Manager

Sarah Holmes Sarah ThomasLibrarians ( job-share)

Christopher AldertonStage Manager

Damian Davis Transport Manager

Madeleine Ridout Assistant Orchestra Personnel Manager

Education and Community

Isabella Kernot Education Director (maternity leave)

Clare Lovett Education Director (maternity cover)

Talia LashEducation and Community Project Manager

Lucy SimsEducation and Community Project Manager

Richard MallettEducation and Community Producer

Development

Nick JackmanDevelopment Director

Catherine Faulkner Development Events Manager

Kathryn HagemanIndividual Giving Manager

Laura Luckhurst Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Rebecca FoggDevelopment Co-ordinator

Helen Yang Development Assistant

Kirstin PeltonenDevelopment Associate

Marketing

Kath TroutMarketing Director

Libby Northcote-GreenMarketing Manager

Rachel WilliamsPublications Manager

Samantha CleverleyBox Office Manager(Tel: 020 7840 4242)

Anna OConnorMarketing Co-ordinator

Natasha Berg Marketing Intern

Digital projects

Alison Atkinson Digital Projects Director

Matthew Freeman Recordings Consultant public Relations

Albion Media (Tel: 020 3077 4930) Archives

Philip StuartDiscographer

Gillian Pole Recordings Archive professional Services

Charles Russell SpeechlysSolicitors

Crowe Clark Whitehill LLPAuditors

Dr Louise MillerHonorary Doctor

London philharmonic Orchestra89 Albert Embankment London SE1 7TPTel: 020 7840 4200Box Office: 020 7840 4242Email: [email protected]

The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Composer photographs courtesy of the Royal College of Music, London. Front cover photograph: Ilyoung Chae, First Violin Benjamin Ealovega. Cover design/ art direction: Ross Shaw @ JMG Studio.

Printed by Cantate.

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London Philharmonic Orchestra 3 February 2016 concert programme

Documents

Transcript of London Philharmonic Orchestra 3 February 2016 concert programme