Supported by

Vladimir Jurowski conductorMiloš Karadaglić guitar London Philharmonic Orchestra

L i v e & L o c a L

Mozart Symphony No. 32Rodrigo Concierto de Aranjuez

Interval

Tchaikovsky Symphony No. 6 (Pathétique)De Montfort Hall, Leicester Thursday 24 April 2014 – 7.30pm

Victoria Hall, Stoke-on-Trent Tuesday 29 April 2014 – 7.30pm

Programme £3

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London Philharmonic Orchestra

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people every year through activities for schools and local communities.

The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the greatest names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor. Julian Anderson is the Orchestra’s current Composer in Residence.

The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. 2013/14 highlights include a Britten centenary celebration with Vladimir Jurowski; world premieres of James MacMillan’s Viola

Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin including Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s ‘Organ’ Symphony; and two concerts of epic film scores. The season features soloists including Evelyn Glennie, Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Emanuel Ax, Leonidas Kavakos, Julia Fischer and Simon Trpčeski, and a distinguished line-up of conductors including Christoph Eschenbach, Osmo Vänskä, Vasily Petrenko, Jukka-Pekka Saraste and Stanisław Skrowaczewski. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long festival The Rest Is Noise, exploring the influential works of the 20th century.

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 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 and vital part of the Orchestra’s life: highlights this season include visits to

The LPO are an orchestra on fire at the moment. Bachtrack.com, 2 October 2013

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the USA, Moscow, Romania, Austria, Germany, Slovenia, Belgium, France and Spain, and plans for 2014/15 include returns to many of the above plus visits to Turkey, Iceland, the USA (West and East Coast), Canada, China and Australia.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 75 releases available on CD and to download. Recent additions include Brahms’s Symphonies Nos. 3 & 4 and Mahler’s Symphony No. 1 with Vladimir Jurowski; Orff’s Carmina Burana with Hans Graf; Mahler’s Das Lied von der Erde with Yannick Nézet-Séguin, Sarah Connolly and Toby Spence; and a disc of works by the Orchestra’s Composer in Residence, Julian Anderson.

In summer 2012 the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians and audiences through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; fusion ensemble The Band; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, digital advances and social media have enabled the Orchestra to reach even more people across the globe: 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.

Find out more and get involved!

lpo.org.uk

facebook.com/londonphilharmonicorchestra

twitter.com/LPOrchestra

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 Pärt’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.

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JTI

JTI is delighted to support tonight’s concert as part of its long-term partnership with the London Philharmonic Orchestra.

At the core of our partnership is the JTI Friday Series, a set of concerts performed each year at London’s Royal Festival Hall with accessibly priced tickets. This ‘Live and Local’ tour takes the Friday Series ethos out of London, visiting Leicester, Stoke-on-Trent, Birmingham, Manchester and Leeds with performances of exciting music in local venues at an accessible price.

Increasing accessibility to the arts is an important part of JTI’s corporate philanthropy programme in the UK. The London Philharmonic Orchestra also participates in JTI’s Cross-Partner Project, which brings its charitable and cultural partners together giving people with disabilities, as well as homeless and vulnerably housed people, greater access to music and the visual arts.

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jti.com/UK

Supporting the arts is important to JTI. Our long-term partnership with the London Philharmonic Orchestra is helping to make music more accessible to all.

JTI is driven by the creativity of25,000 diverse, enquiring mindsmade up of 90 nationalities.Imagine the potential.

Making music accessible

It’s all part of JTI’s wider programme of support which helps adults who are less advantaged to improve their quality of life with a focus on poverty alleviation, older people, adult education and helping adults with disabilities.

JTI is a member of the Japan Tobacco Group of Companies, a leading international tobacco manufacturer. Corporate philanthropy is how we describe our choice to contribute to the societies in which we do business, in a way that is meaningful, considered, voluntary, and outside our commercial operations. We work on many different levels, with small charities as well as globally renowned institutions. We apply a common set of values to decide which charities and cultural institutions we work with and we view them as partners, rather than simply beneficiaries. It’s our way of giving back to the communities in which we operate.

JTI Cross-Partner Project 2013: workshops and performances with the London Philharmonic Orchestra

jti.com/UK

Supporting the arts is important to JTI. Our long-term partnership with the London Philharmonic Orchestra is helping to make music more accessible to all.

JTI is driven by the creativity of25,000 diverse, enquiring mindsmade up of 90 nationalities.Imagine the potential.

Making music accessible

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On stage tonight

First Violins

Pieter Schoeman* LeaderChair supported by Neil Westreich

Vesselin Gellev Sub-LeaderIlyoung ChaeJi-Hyun Lee

Chair supported by Eric Tomsett

Katalin VarnagyChair supported by Sonja Drexler

Catherine CraigThomas EisnerMartin HöhmannGeoffrey Lynn

Chair supported by Caroline, Jamie & Zander Sharp

Robert PoolSarah StreatfeildGrace LeeRebecca ShorrockGalina TanneyCaroline FrenkelAlain Petitclerc

Second Violins

Dania AlzapiediGuest Principal

Jeongmin KimJoseph MaherKate Birchall

Chair supported by David & Victoria Graham Fuller

Nancy ElanMarie-Anne MairesseAshley StevensDean WilliamsonAlison StrangeStephen StewartSheila LawElizabeth BaldeyStephen DinwoodieJohn Dickinson

Violas

Cyrille Mercier PrincipalGregory AronovichSusanne MartensBenedetto PollaniNaomi HoltDaniel CornfordIsabel PereiraAlistair ScahillSarah MalcolmMartin FennMiriam EiseleLinda Kidwell

Cellos

Kristina BlaumanePrincipal

Hetty SnellLaura DonoghueSantiago Carvalho†David LaleGregory WalmsleyElisabeth Wiklander Sue SutherleySusanna Riddell Helen Rathbone

Double Basses

Kevin Rundell* PrincipalTim Gibbs Co-PrincipalLaurence LovelleGeorge PenistonRichard LewisKenneth KnussenHelen RowlandsTom Walley

Flutes

Michael CoxGuest Principal

Sue Thomas*Chair supported by the Sharp Family

Stewart McIlwham*

Piccolo

Stewart McIlwham*Principal

Oboes

Ian Hardwick PrincipalAlice Munday

Cor Anglais

Sue Böhling PrincipalChair supported by Julian & Gill Simmonds

Clarinets

Robert Hill* PrincipalEmily Meredith

Bass Clarinet

Paul Richards Principal

Bassoons

Ben HudsonGuest Principal

Gareth Newman

Horns

David Pyatt* PrincipalChair supported by Simon Robey

John Ryan* PrincipalMartin HobbsMark Vines Co-PrincipalGareth Mollison

Trumpets

Paul Beniston* PrincipalAnne McAneney*

Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal

Trombones

Mark Templeton* PrincipalChair supported by William & Alex de Winton

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Timpani

Simon Carrington*Principal

Percussion

Andrew Barclay* PrincipalChair supported by Andrew Davenport

Keith Millar

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

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Vladimir Jurowskiconductor

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One of today’s most sought-after and dynamic conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow, and completed the first

part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany, continuing his studies at the High Schools of Music in Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco.

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming the Orchestra’s Principal Conductor in September 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has also held the positions of First Kapellmeister of the Komische Oper, Berlin (1997–2001); Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03); Principal Guest Conductor of the Russian National Orchestra (2005–09); and Music Director of Glyndebourne Festival Opera (2001–13).

Vladimir Jurowski has appeared on the podium with many leading orchestras in Europe and North America including the Berlin and Vienna Philharmonic orchestras, the Royal Concertgebouw Orchestra, The Philadelphia Orchestra, the Boston and Chicago symphony orchestras, the Tonhalle-Orchester Zürich, the Gewandhausorchester Leipzig, and the Staatskapelle Dresden. Highlights of the 2013/14 season and beyond include his debuts with the New York Philharmonic, NHK Symphony (Tokyo) and San Francisco Symphony orchestras; tours with the Chamber Orchestra of Europe and the Mahler Chamber Orchestra; and return visits to the Chicago Symphony, Berlin Radio Symphony, Cleveland and Philadelphia orchestras, and the Accademia Nazionale di Santa Cecilia.

Jurowski made his debut at the Metropolitan Opera, New York, in 1999 with Rigoletto, and has since returned for Jenůfa, The Queen of Spades and Hansel and Gretel. He has conducted Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opera National de Paris; Eugene Onegin at Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and Iolanta and Die Teufel von Loudon at the Dresden Semperoper, as well as The Magic Flute, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen, Ariadne auf Naxos and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera. In autumn 2013 he returned to the Metropolitan Opera for Die Frau ohne Schatten, and future engagements include Moses und Aron at the Komische Oper Berlin and The Fiery Angel at the Bayerische Staatsoper in Munich.

Jurowski’s discography includes the first ever recording of the cantata Exil by Giya Kancheli for ECM; Meyerbeer’s L’étoile du Nord for Marco Polo; Massenet’s Werther for BMG; and a series of records for PentaTone with the Russian National Orchestra. The London Philharmonic Orchestra has released a wide selection of his live recordings on its LPO Live label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; Rachmaninoff’s Symphonic Dances; Tchaikovsky’s Symphonies 1, 4, 5, 6 and Manfred; and works by Turnage, Holst, Britten, Shostakovich, Honegger and Haydn. His tenure as Music Director at Glyndebourne has been documented in CD releases of La Cenerentola, Tristan und Isolde and Prokofiev’s Betrothal in a Monastery, and DVD releases of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus, Die Meistersinger von Nürnberg, Don Giovanni and Rachmaninoff’s The Miserly Knight. Other DVD releases include Hansel and Gretel from the Metropolitan Opera; his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler; and DVDs with the Orchestra of the Age of Enlightenment (Beethoven’s Symphonies Nos. 4 and 7) and the Chamber Orchestra of Europe (Strauss and Ravel), all released by Medici Arts.

Vladimir Jurowski’s position as Principal Conductor and Artistic Advisor of the London Philharmonic Orchestra is generously supported by the Tsukanov Family Foundation and one anonymous donor.

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Miloš Karadaglićguitar

One of the hottest properties in classical music, Miloš Karadaglić came to international attention in 2011 with his debut album The Guitar (Mediterráneo) which, in the space of just a few months, topped classical charts

around the world, became an internationally bestselling sensation, and earned Miloš Gramophone’s Young Artist of the Year award.

An exclusive Deutsche Grammophon recording artist, in 2012 Miloš released his second album, Latino (Pasión), which went on to receive both Classic BRIT (UK) and ECHO Klassik (Germany) awards. Reviewing the album, Gramophone commented: ‘Karadaglić is a guitarist of superior musical and technical gifts who allows his personality to sing through the music with taste and intelligence.’ The Daily Telegraph added: ‘This new Latin American programme is outstanding in its finesse, warm sensuality and sheer beauty.’ Latino proved so successful that it was subsequently re-released as Latino GOLD, featuring 30 minutes of newly recorded tracks from a wealth of Latin American-inspired music. Meanwhile Miloš: Heartstrings, a documentary filmed throughout 2012 which charts the guitarist’s story to date, has been released on DVD and aired on numerous TV stations.

Miloš’s much-anticipated third album, Aranjuez, was released on Deutsche Grammophon/Mercury Classics in February 2014. Recorded with the London Philharmonic Orchestra and conductor Yannick Nézet-Séguin, it includes Rodrigo’s Concierto de Aranjuez and Fantasía para un Gentilhombre.

2012/13 was a breakthrough season on the concert stage for Miloš, with sold-out debut performances and tours around the world. ‘Part of the reason Karadaglić́ has such a large following’, commented the Western Australian, ‘is his ability to straddle both hardcore classical and pop classical camps.’ This was echoed by the London press following his celebrated Royal Albert Hall debut in September 2012, of which the Guardian commented: ‘More extraordinary by far, however, was the way a single guitarist, playing an intimate

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and understated set, and equipped with a single microphone and some clever lighting, could shrink the Hall’s cavernous space into something so close.’ The Independent concluded: ‘Defying its many critics to offer a dramatic and rounded evening of classical music, the guitar itself was the breakout star here – a sleight of hand that makes Karadaglić not only a magician, but a serious and accomplished musician.’

Miloš’s passion for the guitar is matched by an intuitive sense of how to bring the instrument across to his public – whether it be for an audience of 3000 in the Royal Albert Hall or an intimate chamber music performance for 100 people. He enjoys performing in the major concert halls as much as in non-traditional venues such as New York’s Le Poisson Rouge, London’s Camden Roundhouse (iTunes Festival) and Deutsche Grammophon’s Yellow Lounge club nights in London, Berlin, Amsterdam, Madrid, New York and Seoul.

This season sees Miloš reach new heights with extensive tours throughout Europe, America and the Middle East, both in recital and concerto performances. As well as concerts with the London Philharmonic Orchestra in London, Leicester and Stoke-on-Trent, he appears with the Chicago Symphony Orchestra at the Ravinia Festival, The Philadelphia Orchestra at Saratoga, the Los Angeles Philharmonic at the Hollywood Bowl and the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, as well as appearances at prestigious festivals such as Cheltenham, Gstaad, Rheingau and Nits di Clàssica (Spain).

Born in Montenegro in 1983, Miloš Karadaglić started playing the guitar at the age of eight. When he was 17 he successfully applied for a scholarship to study at London’s Royal Academy of Music. He continues to live in London, while maintaining close ties with his family and homeland. Miloš is a passionate supporter of music education and acts as a Patron of the Mayor of London’s Fund for Young Musicians and the charity Awards for Young Musicians.

Miloš uses D’Addario J 46 strings and plays a 2007 Greg Smallman guitar, kindly lent to him by Paul and Jenny Gillham.

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Wolfgang Amadeus Mozart (1756–91)Symphony No. 32 in G major, K318 (8’)

Programme notes

1 Allegro spiritoso 2 Andante 3 Primo tempo

Musicologists like to put pieces in pigeonholes. Mozart didn’t actually call this work ‘Symphony’ – in fact he didn’t give it any kind of genre description. When he wrote the work in 1779, he had just returned from a trip to Paris, where he had hoped – in vain – to find prestigious employment, and thus escape servitude to the Archbishop of Salzburg, Count Hieronymus von Colloredo, whose treatment of Mozart was becoming more and more dictatorial. In Paris Mozart had heard comic opera overtures whose structure broadly resembles that of Symphony No. 32, so many writers have tried hard to prove that the music was really intended as a curtain-raiser for a theatre work. In fact there’s no evidence for this at all: Mozart may simply have been trying out new formal models.

Miloš Karadaglič guitar

1 Allegro con spirito 2 Adagio 3 Allegro gentile

Along with Antonio José and artists in other media such as Dalí, Lorca and Buñuel, the Valencian composer Joaquín Rodrigo is often associated with the ‘Generación del ’27’, a loose-knit group of artists who came to prominence around that year, with similar aspirations to renew Spanish art by aiming for technical perfection. By 1939 many of them were dead, victims of the Nationalists in the Civil War. But chance found Rodrigo abroad at the outbreak of war, where he chose to remain. When he returned to Spain in 1939, he carried with him the score of the Concierto de Aranjuez

Joaquín Rodrigo (1901–99)Concierto de Aranjuez (22’)

Whatever the case, this lively, highly compact piece manages to say a great deal in well under ten minutes. It begins like a grand symphonic first movement, presenting strikingly contrasting themes, then developing them towards a climax. But at the point where we might expect the first theme to return, the music pauses expectantly, and a slow movement begins. Eventually this too breaks off, and the first movement resumes, as though nothing had happened to stop it. Cleverly, Mozart delays the return of the very first theme until the end, where it rounds off the structure brilliantly. Mozart may not have called this a ‘symphony’, but as a symphonic argument, it’s a triumph.

© Stephen Johnson

for guitar and orchestra: the work that was to bring him worldwide recognition.

Rodrigo intended his Concerto to evoke life at the Royal Palace of Aranjuez under the Bourbon kings Charles IV and Ferdinand VII. The Palace, surrounded by verdant formal gardens, is clearly modelled on Versailles – but the imagery that Rodrigo had in mind was intensely Spanish: he spoke of majas and bullfights. The musical language breathes an elegant neoclassical atmosphere: it is completely tonal and its structure is carefully

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poised. The first movement is pure filigree: scraps of melody are thrown to the wind and allowed to flutter freely. The third movement is a set of variations on what could well have been a courtly dance of the 18th century. But it is the second movement that forms the apex of the work: a beautifully tragic melody, heard first on the cor anglais and then developed rhapsodically, before reaching (via the work’s only real cadenza) a final statement of breathtaking emotional intensity.

The Concerto places truly virtuosic demands on the soloist as both technician and interpreter: in addition

1 Adagio – Allegro non troppo2 Allegro con grazia3 Allegro molto vivace4 Finale: Adagio lamentoso

Tchaikovsky composed the last of his six symphonies (seven if you include the unnumbered Manfred) between February and August 1893, and conducted the first performance in St Petersburg in October. Nine days later, he was dead – probably through suicide, hurriedly forced upon him to avoid a scandal. There is of course no way in which the music and this premature death can be directly related. But the Symphony was written according to a programme which, although Tchaikovsky never revealed it, seems to have been connected to thoughts about mortality; and he willingly accepted his brother Modest’s suggested title for it of Symphonie pathétique – the adjective suggesting not so much pathos as suffering. Significantly, soon after completing the Symphony, he declined a suggestion that he should set to music a poem called Requiem by his old friend Alexey Apukhtin, who had recently died, on the grounds that it might involve attempting to repeat himself, after

Pyotr Ilyich Tchaikovsky (1840–93)Symphony No. 6 in B minor, Op. 74 (Pathétique) (45’)

composing a work into which he had put ‘my entire soul’.

An integral part of Tchaikovsky’s conception of the work was that it should have as its finale ‘not a noisy Allegro but a long Adagio’. This led to a thorough rethinking of the traditional sequence of movements in a symphony – starting with the first, and longest, movement, which maintains a balance between fast and slow music. It begins with a dark-coloured slow introduction, a late addition to the score which anticipates the striving first subject of the main Allegro. Then the second subject consists of a whole extended paragraph of slower music: a consoling D major string melody, a contrasting ‘middle section’, and an impassioned return to the string melody, echoed by a clarinet solo dying away to nothing. The fastest section of the movement is the development, which begins with a furious fugato, later

to the challenges set by such things as rapid scales (extremely difficult on the guitar), the music demands great melodic sensitivity. This would be difficult to balance against a full-size orchestra were it not for Rodrigo’s remarkably transparent scoring. (The composer was not averse, however, to having the soloist amplified electronically in large concert halls.) Rodrigo wrote several more concertos for various instruments, all of them fine works with equally evocative titles, but he was never to repeat the success of the Concierto de Aranjuez.

© Chris Collins

Interval – 25 minutesPlease remember to turn off your mobile phone after the interval.

Programme notes continued

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overlaid by striding descending scales in the trumpets, and falls away to a solemn brass chorale which is in fact a chant from the Russian Orthodox funeral service, ‘With thy saints, O Christ, give peace to the soul of thy servant’. The recapitulation, launched at the peak of a new build-up of excitement, is a much altered and truncated version of the exposition, with a huge descending scale leading to a shortened version of the second subject (without its middle section), and a subdued coda.

The two middle movements are both character-pieces of an unusual nature. The D major Allegro con grazia (‘with grace’) is waltz-like, but in a consistent 5/4 time. The standard pattern of a trio section and a reprise of the opening is expanded by a lead-back from the trio which juxtaposes phrases from both sections, and a coda beginning with scale patterns, rising quickly and

falling slowly. The Allegro molto vivace, in G major, is a brilliant march, largely concerned with building up anticipation, so that the final return of the main theme takes on a triumphant quality.

But then the slow finale begins with a despairing melody, its scalewise descents initially shared note by note between first and second violins; and a descending scale in the bassoons leads to a second theme which, although in D major, also begins with fragments of downward scales. This is driven to a climax, before making way for the extended return of the first theme, in mounting waves of passion. Finally the downward scales which have increasingly dominated the whole work take over again, in a kind of vestigial minor-key return of the second subject, descending to the lowest depths of the orchestra before falling silent.

© Anthony Burton

Symphonies Nos. 4 & 5

Vladimir Jurowski conductor

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Over 75 LPO Label CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets.

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Symphonies Nos. 1 & 6

Vladimir Jurowski conductor

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Jurowski conducts Tchaikovsky on the LPO Label

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London Philharmonic Orchestra Administration

Board of Directors

Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman*

Vice-PresidentRichard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. HøgelMartin Höhmann* George Peniston* Sir Bernard RixKevin Rundell* Julian SimmondsMark Templeton*Natasha TsukanovaTimothy Walker AM Laurence WattNeil Westreich Dr Manon Williams

* Player-Director

Advisory Council

Victoria Sharp Chairman Christopher Aldren Richard Brass Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson Christopher Fraser OBE Lord Hall of Birkenhead CBE Clive Marks OBE FCA Stewart McIlwham Baroness ShackletonLord Sharman of Redlynch OBE Thomas Sharpe QC Martin SouthgateSir Philip Thomas Sir John TooleyChris VineyTimothy Walker AMElizabeth Winter

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Jenny Ireland Co-ChairmanWilliam A. Kerr Co-ChairmanKyung-Wha ChungAlexandra JupinDr. Felisa B. KaplanJill Fine MainelliKristina McPhee Dr. Joseph MulvehillHarvey M. Spear, Esq.Danny Lopez Hon. ChairmanNoel Kilkenny Hon. Director

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13 13 | London Philharmonic Orchestra

Friday 3 October 2014 | 7.30pm JTI Friday SeriesRachmaninoff The Isle of the Dead | Symphonic Dances | Piano Concerto No. 1 (original version)

Vladimir Jurowski conductor | Alexander Ghindin piano

Wednesday 29 October 2014 | 7.30pmRachmaninoff Piano Concerto No. 3 | Symphony No. 2

Vassily Sinaisky conductor | Pavel Kolesnikov piano

Friday 7 November 2014 | 7.30pm JTI Friday SeriesVaughan Williams Fantasia on a Theme by Thomas Tallis Rachmaninoff Piano Concerto No. 4 (final version) Tchaikovsky Symphony No. 1 (Winter Daydreams)

Osmo Vänskä conductor | Nikolai Lugansky piano

Friday 28 November 2014 | 7.30pm JTI Friday SeriesWagner Overture, Tannhäuser Rachmaninoff Rhapsody on a Theme of Paganini Tchaikovsky Symphony No. 4

David Zinman conductor | Behzod Abduraimov piano

Wednesday 3 December 2014 | 7.30pmSzymanowski Concert Overture Scriabin Piano Concerto | Rachmaninoff Symphony No. 1

Vladimir Jurowski conductor | Igor Levit piano

Wednesday 21 January 2015 | 7.30pmWagner Das Rheingold (orchestral excerpts) Rachmaninoff The Miserly Knight (semi-staged)

Vladimir Jurowski conductor | Vsevolod Grivnov Albert Maxim Mikhailov Servant | Viacheslav Voynarovskiy Moneylender | Albert Shagidullin The Duke Sergei Leiferkus The Baron | Annabel Arden director

Saturday 7 February 2015 | 7.30pmRachmaninoff Three Russian Songs | Spring Enescu Symphony No. 3

Vladimir Jurowski conductor | Andrei Bondarenko baritone London Philharmonic Choir

Wednesday 11 February 2015 | 7.30pmStravinsky Symphony in Three Movements Rachmaninoff Piano Concerto No. 2 | The Bells

Vasily Petrenko conductor | Jorge Luis Prats piano Anna Samuil soprano | Daniil Shtoda tenor Alexander Vinogradov bass | London Philharmonic Choir

Friday 13 February 2015 | 7.30pm JTI Friday SeriesRachmaninoff Piano Concerto No. 4 (original version) Shostakovich Symphony No. 4

Vasily Petrenko conductor | Alexander Ghindin piano

Wednesday 25 March 2015 | 7.30pmMozart Symphony No. 36 (Linz) | Dvořák Symphony No. 8 Rachmaninoff Piano Concerto No. 1 (final version)

Ilyich Rivas conductor | Dmitry Mayboroda piano

Wednesday 29 April 2015 | 7.30pmRachmaninoff Four Pieces | Ten Songs | Symphony No. 3

Vladimir Jurowski conductor | Vsevolod Grivnov tenor

Rachmaninoff: Inside Out is presented in co-operation with the Serge Rachmaninoff Foundation.

A year-long exploration of the composer’s life and music, at Southbank Centre’s Royal Festival Hall throughout 2014/15

Tickets: £9–£39 (Premium seats £65)

London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday to Friday 10.00am–5.00pm lpo.org.uk | Transaction fees: £1.75 online, £2.75 telephone

Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk Transaction fees: £1.75 online, £2.75 telephone No transaction fee for bookings made in personlpo.org.uk/rachmaninoff

I N S I D E O U T

Join theBardi atDeMontfort Hallfor two fantastic concerts! www.bardi.org.uk

Bardi SymphonyOrchestra SymphonyBardi

Orchestra

ThePrincipals’ ClubConcert Richard Strauss

Four Last SongsMahlerSymphonyNo.5

Sunday18thMay 20147pm PLEASE NOTE STARTING TIME

Claus Efland Conductor Rita Cullis Soprano

Tickets available from:DMH Box Office 0116 233 3111

Or call 0116 2414757

Tickets: £11 • £16 • £18Concessions: £9.50 • £14.50 • £16.5018 & under/NUS : £3

6pmPre concert talkhostedby John FlorancefromBBCRadio Leicester andClaus Efland

LeicesterChildren's Holiday Centre

(Mablethorpe)

supporting SUMMERTIMESPECIAL!

Bardi Wind OrchestraCharity Gala Concert Oadby & Wigston Lions Club

inassociation with

Registered Charity No.326456

SATURDAY14TH JUNE 2014 7.30PM

TICKETS: £10• £12.50 • £15CONS: £8.50 • £11.00 • £13.5018 & UNDER/NUS: £3

A CONCERT OF MUSICINSPIRED BY THE SUMMER HOLIDAYS!

CONDUCTOR DAVID CALOW

BOX OFFICE: 0116 233 3111

OR 0116 2717849

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COMPERE DAVE ANDREWSFROM BBC RADIO LEICESTER

SOPRANO JENNY SAUNDERS

TENOR DAVID MORRIS

BARITONECOLIN BLACKLER

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BAR A4 LPO Bardi Advert:Layout 1 20/3/14 11:13 Page 1

VICTORIA HALL • CITY CENTRE • STOKE-ON-TRENT

FORUM THEATRE • POTTERIES MUSEUM & ART GALLERY

TICKETS AVAILAbLE FROM : Music Mania . Tel: 01782 2060004-6 Piccadilly Arcade, Hanley, Stoke-on-Trent ST1 1DLBook tickets online at: www.stokeontrentfestival.co.uk

Friday 9th May 2014 8.00pm

Hallé Gala FinaleConductor: Christian Mandeal Soloist: Sofya GulyakEnescu: Romanian Rhapsody No.1 Tchaikovsky: Piano Concerto No.1 Rachmaninov: Symphony No.2

Tickets: £29.50, £23.00, £21.00, £18.00, £15.00, £14.00

Thursday 8th May 2014 8.00pm

Stephen Hough Brahms: Seven Fantasias Op.116 Debussy: Estampes Hough: Piano Sonata No. 2 (notturno luminoso) Schumann: Carnaval, Op.9

Tickets: £22.00 Price includes a complimentary programme and interval wine / tea / coffee / fruit juice

Dates for your Diary

Orchestral Concerts 2014/15 Season 26th September 2014 BBC Philharmonic

31st October 2014 Hallé

28th November 2014 BBC Philharmonic

2nd January 2015 Hallé

6th February 2015 BBC Philharmonic

6th March 2015 European Union Chamber Orchestra

27th March 2015 BBC Philharmonic

17th April 2015 City of Birmingham Symphony Orchestra

15th May 2015 Hallé

CAR PARKING Please note that the Birch Terrace car park (off Lichfield street) is now open and very close to the Victoria Hall.

London Philharmonic Orchestra89 Albert Embankment London SE1 7TPTel: 020 7840 4200Box Office: 020 7840 4242lpo.org.uk

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

Cover design: Harrison. Print: Cantate