14Apr10 programme notes

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALLWednesday 14 April 2010 | 7.30 pm

GIANANDREA NOSEDAconductor

ENRICO DINDOcello

VERDIDances (Ballabili) from ‘Otello’ (6’)

DVOŘÁKCello Concerto in B minor (40’)

INTERVAL

RICHARD STRAUSSAus Italien (47’)

PROGRAMME £3

CONTENTS2 List of Players3 Orchestra History4 Southbank Centre5 Gianandrea Noseda6 Enrico Dindo7 Programme Notes11 New Recordings13 Supporters14 Philharmonic News15 Administration16 Future Concerts

The timings shown are notprecise and are given only asa guide.

Principal Conductor VLADIMIR JUROWSKIPrincipal Guest Conductor YANNICK NÉZET-SÉGUINLeader PIETER SCHOEMANComposer in Residence MARK-ANTHONY TURNAGEPatron HRH THE DUKE OF KENT KGChief Executive and Artistic Director TIMOTHY WALKER AM†

† supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

51714 LPO 14 April 10_51714 LPO 14 April 10 08/04/2010 13:10

2 | London Philharmonic Orchestra

LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINSNatalia Lomeiko Guest LeaderVesselin Gellev Sub-LeaderJulia RumleyChair supported byMrs Steven Ward

Katalin VarnagyCatherine CraigThomas EisnerMartin HöhmannChair supported byRichard Karl Goeltz

Geoffrey LynnRobert PoolFlorence SchoemanSarah StreatfeildRebecca ShorrockAlain PetitclercPeter NallGalina TanneyJoanne Chen

SECOND VIOLINSClare Duckworth PrincipalChair supported by Richard and Victoria Sharp

Jeongmin KimJoseph MaherNancy ElanFiona HighamMarie-Anne MairesseAshley StevensImogen WilliamsonPeter GrahamHeather BadkeStephen StewartMila MustakovaSheila LawElizabeth Baldey

VIOLASAlexander Zemtsov* PrincipalFiona WinningRobert DuncanJulia McCarthyAnthony ByrneChair supported byJohn and Angela Kessler

Katharine LeekSusanne MartensBenedetto PollaniEmmanuella ReiterLaura VallejoMichelle BruilDaniel Cornford

CELLOSKristina Blaumane PrincipalChair supported bySimon Yates and Kevin Roon

Susanne Beer Co-PrincipalLaura DonoghueSantiago Sabino Carvalho+

Jonathan AylingChair supported by Caroline,Jamie and Zander Sharp

Gregory WalmsleySue SutherleySusanna RiddellDavid LalePavlos Carvalho

DOUBLE BASSESKevin Rundell* PrincipalLaurence LovelleGeorge PenistonDavid JohnsonDamian Rubido GonzalezRebecca WelshTom WalleyLowri Morgan

FLUTESJaime Martin* PrincipalEilidh Gillespie

PICCOLOStewart McIlwham* Principal

OBOESIan Hardwick PrincipalAngela Tennick

COR ANGLAISSue Bohling PrincipalChair supported byJulian and Gill Simmonds

CLARINETSRobert Hill* PrincipalNicholas Carpenter

BASSOONSJohn Price PrincipalGareth Newman*Simon EstellEmma Harding

CONTRA BASSOONSimon Estell Principal

HORNSJohn Ryan PrincipalMartin HobbsAdrian UrenGareth MollisonNicolas Wolmark

TRUMPETSNicholas Betts PrincipalAnne McAneney*Chair supported byGeoff and Meg Mann

CORNETSDaniel Newell PrincipalChair supported byMrs Steven Ward

David Hilton

TROMBONESPhilip Harrison Guest PrincipalRichard Watkin

BASS TROMBONELyndon Meredith Principal

TUBA AND CIMBASSOLee Tsarmaklis Principal

TIMPANIAntoine Bedewi GuestPrincipal

PERCUSSIONRachel Gledhill PrincipalAndrew Barclay* Co-PrincipalKeith Millar Ignacio Molins

HARPSRachel Masters* PrincipalHelen Sharp

* Holds a professorialappointment in London

+ Chevalier of the Brazilian Order of Rio Branco

Chair SupportersThe London Philharmonic Orchestra also acknowledges the following chair supporters whose player is notpresent at this concert:

David and Victoria Graham Fuller


London Philharmonic Orchestra | 3


Seventy-seven years after Sir Thomas Beecham foundedthe London Philharmonic Orchestra, it is recognisedtoday as one of the finest orchestras on the internationalstage. Following Beecham’s influential founding tenurethe Orchestra’s Principal Conductorship has been passedfrom one illustrious musician to another, amongst themSir Adrian Boult, Bernard Haitink, Sir Georg Solti, KlausTennstedt and Kurt Masur. This impressive traditioncontinued in September 2007 when Vladimir Jurowskibecame the Orchestra’s Principal Conductor, and in afurther exciting move, the Orchestra appointed YannickNézet-Séguin, its new Principal Guest Conductor fromSeptember 2008.

The London Philharmonic Orchestra has been performingat Southbank Centre’s Royal Festival Hall since it openedin 1951, becoming Resident Orchestra in 1992. It playsthere around 40 times each season with many of theworld’s most sought after conductors and soloists.Concert highlights in 2009/10 include Between TwoWorlds – an exploration of the music and times ofAlfred Schnittke; a Sibelius symphony cycle withOsmo Vänskä in January/February 2010; a perform-ance of Mendelssohn’s Elijah conducted by KurtMasur and dedicated to the 20th Anniversary of theFall of the Berlin Wall; and new works by Rautavaara,Philip Glass, Ravi Shankar and the Orchestra’sComposer in Residence, Mark-Anthony Turnage.

Imaginative programming and a commitment to newmusic are at the heart of the Orchestra’s activity, withregular commissions and world première performances.

In addition to its London season, the Orchestra hasflourishing residencies in Brighton and Eastbourne, andperforms regularly around the UK. It is unique incombining these concert activities with esteemed operaperformances each summer at Glyndebourne FestivalOpera where it has been the Resident SymphonyOrchestra since 1964.

The London Philharmonic Orchestra performs toenthusiastic audiences all round the world. In 1956 itbecame the first British orchestra to appear in SovietRussia and in 1973 it made the first ever visit to China bya Western orchestra. Touring continues to form asignificant part of the Orchestra’s schedule and issupported by Aviva, the International Touring Partner of

© Richard Cannon

‘This pulsating concert was the best possibleadvertisement for the rest of Osmo Vänskä’sSibelius cycle ... If any musical event thisseason has a better Finnish than this, I’m aNorseman.’RICHARD MORRISON, THE TIMES, 29 JANUARY 2010




the London Philharmonic Orchestra. Tours in 2009/10include visits to Germany, Australia, France, China, theCanaries and the USA.

Having long been embraced by the recording,broadcasting and film industries, the LondonPhilharmonic Orchestra broadcasts regularly on domesticand international television and radio. It also worksextensively with the Hollywood and UK film industries,recording soundtracks for blockbuster motion picturesincluding the Oscar-winning score for The Lord of theRings trilogy and scores for Lawrence of Arabia, TheMission, Philadelphia and East is East.

The Orchestra also enjoys strong relationships with themajor record labels and in 2005 began reaching out tonew global audiences through the release of live, studioand archive recordings on its own CD label. Recentadditions to the catalogue have included acclaimedreleases of early Britten works conducted by VladimirJurowski; Mahler’s Symphony 6 under the baton of KlausTennstedt; Tchaikovsky’s Symphonies 1 and 6 conductedby Vladimir Jurowski; Sir Thomas Beecham recordings ofMozart, Delius and Rimsky-Korsakov from the 1930s; aCD of John Ireland’s works taken from his 70th BirthdayConcert in 1949; and Dvor̆ák’s Requiem conducted byNeeme Järvi. The Orchestra’s own-label releases areavailable to download by work or individual track from itswebsite: www.lpo.org.uk/shop.

The Orchestra reaches thousands of Londoners throughits rich programme of community and school-basedactivity in Lambeth, Lewisham and Southwark, whichincludes the offshoot ensembles Renga and The Band, itsFoyle Future Firsts apprenticeship scheme foroutstanding young instrumentalists, and regular familyand schools concerts.

To help maintain its high standards and diverseworkload, the Orchestra is committed to the welfare ofits musicians and in December 2007 received theAssociation of British Orchestras/Musicians BenevolentFund Healthy Orchestra Bronze Charter Mark.

There are many ways to experience and stay in touchwith the Orchestra’s activities: visit www.lpo.org.uk,subscribe to our podcast series and join us on Facebook.

WELCOME TO SOUTHBANK CENTRE

We hope you enjoy your visit. We have a DutyManager available at all times. If you have any queriesplease ask any member of staff for assistance.

Eating, drinking and shopping? Southbank Centreshops and restaurants include: MDC music andmovies, Foyles, EAT, Giraffe, Strada, wagamama, LePain Quotidien, Las Iguanas, ping pong, Canteen, CafféVergnano 1882, Skylon and Feng Sushi, as well ascafes, restaurants and shops inside Royal Festival Hall,Queen Elizabeth Hall and Hayward Gallery.

If you wish to get in touch with us following your visitplease contact our Head of Customer Relations atSouthbank Centre, Belvedere Road, London SE1 8XX, byphone on 020 7960 4250 or by email [email protected]

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

PHOTOGRAPHY is not allowed in the auditorium

LATECOMERS will only be admitted to the auditoriumif there is a suitable break in the performance

RECORDING is not permitted in the auditoriumwithout the prior consent of Southbank Centre.Southbank Centre reserves the right to confiscate videoor sound equipment and hold it in safekeeping until theperformance has ended

MOBILES, PAGERS AND WATCHES should beswitched off before the performance begins

SOUTHBANK CENTRE



GIANANDREA NOSEDACONDUCTOR

Gianandrea Noseda has been Music Director of TeatroRegio in Turin since September 2007. His first seasonshave included performances of Falstaff, Salome, Thaïsand The Queen of Spades.With a tour of Germany inMay 2008 he also began an increasingly importantinternational schedule which will lead to a residence inJapan and China in July/August 2010 when he willpresent their new production of La traviata, whichopened the 2009/10 season.

He is also Principal Conductor of the BBC PhilharmonicOrchestra. His work with them has included studiorecordings, subscription concerts at the BridgewaterHall, their annual appearance at the BBC Proms inLondon and extensive tours in Italy, the Czech Republic,Spain, Austria, Germany and Japan. In September 2008they had the privilege of performing Beethoven’sSymphony 9 at the Proms.

Gianandrea Noseda started his international career in1997, when he became the first foreign Principal GuestConductor at the Mariinsky Theatre in St Petersburg,where he also set up the Mariinsky Young PhilharmonicOrchestra and served as its Principal Conductor. Since1998 he has been Principal Conductor of the Orquestade Cadaqués and between 1999 and 2003 he wasPrincipal Guest Conductor of the RotterdamPhilharmonic and between 2003 and 2006 of theOrchestra Sinfonica Nazionale della RAI, Turin. Also,since 2000, he has been Artistic Director of the StresaFestival in Italy.

He has appeared all over the world with orchestrassuch as the New York Philharmonic, PittsburghSymphony, Chicago Symphony, Boston Symphony,Toronto Symphony, London Symphony, Tokyo Symphony,

Chamber Orchestra of Europe, Orchestre National deFrance, DSO Berlin and Israel Philharmonic. Next seasonhe makes his debut with the Philadelphia Orchestraand National Symphony Orchestra.

At the Mariinsky Theatre Gianandrea Noseda hasconducted new productions of opera and balletincluding La sonnambula, Così fan tutte and Il trittico. In2002 he made his Metropolitan Opera debutconducting Prokofiev’s War and Peace followed by Laforza del destino in 2006, Un ballo in maschera in2007/08 and Il trovatore in 2008/09. Future projectsinclude La traviata, Lucia di Lammermoor (on tour inJapan) and Macbeth.

Since 2002 Gianandrea Noseda has been an exclusiveChandos artist. His extensive discography includesrecordings of Prokofiev (the first complete recording ofThe Stone Flower), Karlowitz, Dvořák, Smetana,Shostakovich, Rachmaninov’s rarely recorded operasFrancesca da Rimini, The Miserly Knight and Aleko aswell as the Symphonies Nos 1 and 2, and Mahler’sSymphony No. 10. He is also completing an importantsurvey of the music of Italian composers Respighi,Dallapiccola, Wolf-Ferrari and Casella. His completecycle of Liszt’s symphonic works on five discs hasalready received acclaim from the international pressand his release of orchestral works by Wolf-Ferrarireceived the Diapason d’or in France. For DeutscheGrammophon he conducted the Vienna PhilharmonicOrchestra on Anna Netrebko’s first CD.

Live performances of Beethoven’s complete symphoniesfrom the Bridgewater Hall, Manchester, by the BBCPhilharmonic conducted by Gianandrea Noseda in 2005attracted 1.4 million download requests in a BBC trialwhich was offered as part of Radio 3’s The BeethovenExperience.

In recognition of his musical activities in Italy andabroad, Gianandrea Noseda has received the CavaliereUfficiale al Merito della Repubblica Italiana.



ENRICO DINDOCELLO

Enrico Dindo was born into a family of musicians. Atthe age of six he began studying the cello andafterwards graduated from the Giuseppe VerdiConservatoire of Music in Turin. Later on, he completedhis studies with Egidio Roveda and Antonio Janigro. In1987, at the age of 22, he began performing asprincipal cellist in the Teatro alla Scala Orchestra, andstayed there until 1998.

In 1997 he won First Prize at the RostropovichCompetition in Paris, the great Russian cellist writingabout him: ‘He is a cellist of exceptional qualities, acomplete artist and a formed musician, with anextraordinary sound which flows in a splendid Italianvoice.’

Since then, he has performed as a soloist in manycountries with prestigious orchestras such as the BBCPhilharmonic Orchestra, Rotterdam PhilharmonicOrchestra, Orchestre Nationale de France, Orchestre duCapitole de Toulouse, Filarmonica della Scala, OrchestraSinfonica Nazionale della Rai, Orchestra dell’Accademiadi Santa Cecilia, St Petersburg Philharmonic Orchestra,State Orchestra of Sao Paulo, Tokyo SymphonyOrchestra, Toronto Symphony Orchestra and ChicagoSymphony Orchestra. He has also played withdistinguished conductors such as Riccardo Chailly, AldoCeccato, Gianandrea Noseda, Myung-Whun Chung,Daniele Gatti, Paavo Järvi, Valery Gergiev, Riccardo Mutiand Mstislav Rostropovich.

Enrico Dindo has been a guest at numerous festivalsand concert halls worldwide among them London’sWigmore Hall, Paris Evian, Montpellier, Santiago deCompostela, Budapest Spring Festival, SettimaneMusicali of Stresa, and White Nights Festival in StPetersburg. He was also invited to the DubrovnikFestival and by Gidon Kremer to the LockenhausFestival.

In May 2000 the Italian National Association of MusicalCritics conferred on him the Abbiati Prize as the bestsoloist of the 1998/99 Season. In August 2004 he wasnamed overall winner of the Sixth International WebConcert Hall Competition, and in November 2005 thePresident of the Italian Republic, Carlo Azelio Ciampi,awarded him the Vittorio De Sica Prize for music.

This season’s engagements include concerts at theCello Festival in Kronberg and with the Swedish RadioOrchestra in Stockholm. In September 2010 he will tourEurope with the Gewandhaus Orchestra, conducted byRiccardo Chailly, giving concerts in Leipzig, Stuttgartand Vienna as well as at the Luzern and MiTo Festivals.

Among the composers who have dedicated works tohim are Giulio Castagnoli (Concerto for Cello anddouble orchestra), Carlo Boccadoro (L’Astrolabio delmare for cello and piano and Asa Nisi Masa for cello,two horns and strings), Carlo Galante (Luna in Acquario,for cello and ten instruments) and Roberto Molinelli(Twin Legends for cello and strings and Crystalligence forcello solo).

Enrico Dindo records for Decca and plays a PietroGiacomo Rogeri cello of 1717 (ex Piatti), given to him bythe Pro Canale Foundation.



Verdi’s Otello belongs to that very select group of operasthat are frequently described as ‘perfect’. Verdi himselfwas well aware that he had achieved something specialin Otello. However when the opera was given its Parispremière in 1894 – eight years after the opera wascompleted – he realised he had to make concessions topopular taste. The Parisians liked their operas to havesubstantial ballet sections, and if these could feature afew provocatively-clad female dancers, so much thebetter. Accordingly Verdi provided a sequence of sixshort dances to be inserted in Act III, as part of thefestivities welcoming the Venetian ambassadors toCyprus, where Otello is governor.

The dances are rarely heard in performances of theopera (as Verdi would almost certainly have preferredit), but they are colourful and exciting, and clearly morethan empty padding. In effect, they offer a short

musical tour of the various Mediterranean cultures aslate 19th Europeans would have understood them. Theintroduction features a flute and piccolo tune with ahint of Arabic modal flavouring – in fact to modern earsthis may well sound more persuasively North Africanthan the folksy ‘Arabic Dance’ that follows. This breaksoff dramatically for the ‘Invocation to Allah’, in whichbassoons and horns (against tremolando high strings)portray an Islamic muezzin, intoning the call to prayerfrom the tower of his mosque. A lilting ‘Greek Song’follows, with harps and strings imitating the sound ofthe Greek bazouki (a bright lute-like instrument playedwith a plectrum), which moves seamlessly into awoodwind melody called simply ‘Dance’. A livelyMurano dance in 6/8 time leads neatly into ‘Warriors’Chant’ on cornets, with pounding bass brass andbassoons, then the sequence is rounded off by a shortinvigorating coda.

PROGRAMME NOTES

SPEEDREAD

Two evocations of Mediterranean life frame today’sprogramme. The ballet music Verdi added to his operaOtello presents a rapid but invigorating musical tour ofcountries and cultures that border on Europe’s greatinland sea. At the end of the programme comes RichardStrauss’s first tone poem, Aus Italien – the twenty-twoyear-old composer’s response to a life-changing tripacross Italy, and the first work in which he voiced whathe called his new ‘expressionist’ style of composition.

Brahmsian classicism was now a thing of the past; whatmattered was the poetic evocation of places and sights,and of the emotions they aroused. Brahms’s response tohearing Dvořák’s Cello Concerto was vehement: ‘Why onearth didn’t I know that one could write a cello concertolike this? If I had only known, I would have written onelong ago!’ For many the greatest of all cello concertos,this intensely lyrical, ultimately nostalgic workeffectively re-established the cello as a concert soloinstrument.

BALLABILI (DANCES) FROM ‘OTELLO’GiuseppeVERDI

1813-1901



PROGRAMME NOTES

Few people are surprised today when a composerchooses to write a cello concerto. As the great examplesby Dvořák, Elgar, Schumann, Walton and Shostakovichshow, this noble, rich-toned, soulfully expressive andremarkably agile instrument makes a splendid concertosoloist. But when the Czech composer Antonín Dvořákwrote his Cello Concerto in 1894-5, even connoisseurswere surprised. When Johannes Brahms – composer ofone the greatest violin concertos in the repertoire – firstsaw Dvořák’s score, he exclaimed, ‘Why on earth didn’t Iknow that one could write a cello concerto like this? If Ihad only known, I would have written one long ago!’

Actually there’s no reason why Brahms should haveknown: in his and Dvořák’s day the cello was rarelyplayed well as a solo instrument. In fact the situationseems to have lasted for some time after Dvořák’sdeath. As late as 1939, the famous ManchesterGuardian critic Neville Cardus complained of ‘the wasp-in-the-window effect which most times we have to putup with whenever a cellist gets to work.’ But there isalso the issue of balance. The cello may seem to have apowerful voice, but its lower notes in particular caneasily be overwhelmed if the orchestral accompanimentis too rich and strong. Dvořák copes superbly with thispotential problem. Though he uses a relatively largeorchestra, the cello soloist rarely has to contend withanything like its full force. There are loud, impressiveorchestral tuttis, but in these passages the cellist ismostly silent. The result is that, given a reasonablystrong player, every note of the cello part should beaudible. That must have been one of the concerto’sfeatures that so impressed Brahms.

Beyond that, Brahms can hardly fail to have been wonover by Dvořák’s melodic writing. The Cello Concertobrims over with wonderful long tunes and characterfulshort motifs. Not all of these are initially identified withthe cello. Like most concertos of the ‘classical’ era ofMozart and Beethoven, Dvořák begins the firstmovement with a long passage for orchestra alone.There is a darkly memorable theme for low woodwindat the start then, after the first big climax, a gloriouslong tune for solo horn. So when the cello enters for thefirst time, it not only has to cope with Dvořák’s technicalassault course, it also has to claim these themes foritself.

In the slow movement, the cellist’s powers as aninstrumental singer are tested to the full. The firsttheme is relaxed and reflective, with strong suggestionsof folksong. This is interrupted by a darker minor-keycentral section; and here there is a definiteautobiographical element. While Dvořák was workingon the Concerto, he heard that his sister-in-law, JosefinaKaunitzova, was seriously ill – in his youth Dvořák hadbeen in love with her. Josefina was particularly fond ofDvořák’s song ‘Leave me alone’ (Op. 82, No. 1), and inthis slow movement he has the cello quote its melodyjust after the first stern entry of the trombones andtuba. This same melody re-appears near the end of thefinale – where Dvořák inserted it in response to thenews of Josefina’s death. The finale’s opening marchtheme does return in triumph to end the concerto, butthat poignant reminiscence of lost love lingers in thememory – is this where the concerto’s heart truly lies?

CELLO CONCERTO IN B MINOR, OP. 104

ENRICO DINDO cello

Allegro | Adagio ma non troppo | Allegro moderato

AntonínDVOŘÁK

1841-1904



PROGRAMME NOTES

For many cultivated Germans in the 19th century, Italywas a kind of earthly paradise: the land of sun, of deepred wines and of a sensuality apparently unclouded byguilt. German Lieder composers returned again andagain to Goethe’s famous poem, Kennst du das Land?(‘Do you know the land where the lemon trees bloom?’),which painted a picture of Italian rural life as a kind ofuncorrupted Garden of Eden and voiced the yearning ofthe exile to return. The fact that Italy was separatedfrom Germany by a barrier of mountains – which evenin Strauss’s younger days could be dangerous to cross –only added to the attraction and the sense of poignantseparation.

It was Brahms who suggested to the twenty-two yearold Richard Strauss that he make a tour of Italy. Straussleft soon afterwards, for an extensive trip which took inBologna, Florence, Rome, Naples and the island of Capri.It was a momentous journey for Strauss, artistically aswell as personally. However much he may havegrumbled in his letters home about being overcharged

by shopkeepers, and despite being underwhelmed by alot of the Italian music he heard, other experiences wereoverwhelming. Raphael’s painting of St Cecilia movedhim to tears, while the ancient ruins of Rome filled hishead to bursting with musical ideas. Ironically, theexperience confirmed Strauss’s growing suspicion thathe could no longer follow Brahms’s path as a composer.Brahms had set his face against the notion ofillustrative ‘programme music’ – as pioneered by Lisztand the New German School – preferring to findinspiration in the music of the past, and in the moreabstract ideals of classicism. Strauss had alreadyenjoyed some success with a very Brahmsian symphonicwork: the Symphony in F minor (1884). But the musicthat came to him in Italy was of a new kind: whatmattered now was the poetic evocation of the spirit ofplace, and of the emotions aroused in the mind of thebeholder.

The result was Aus Italien (1886), subtitled ‘symphonicfantasy’, and in effect Strauss’s first tone poem. Unlike

AUS ITALIEN (‘FROM ITALY’)

Auf der Campagna (On the Campagna) | In Roms Ruinen(In the Ruins of Rome) | Am Strande von Sorrent (On thebeach at Sorrento) | Finale: Neapolotanisches Volsleben(Life of the People of Naples)

RichardSTRAUSS

1864-1949

INTERVAL 20 minutes

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



the later, better-known tone poems, it is in severalmovements – broadly speaking like a classicalsymphony – but like them it shows a highly free andimaginative approach to symphonic form. In aBrahmsian symphony the first movement is a complexand weighty business, but in Aus Italien, the opening‘On the Campagna’ is more of an atmospheric preludeto the longer and much more dramatic ‘In the Ruins ofRome’, which Strauss described in the score as ‘Fantasticpictures of vanished splendour, feelings of melancholyand grief amidst the sunniest surroundings.’ The mostpoetic, texturally luscious music comes in the thirdmovement, ‘On the Beach at Sorrento’ – Strauss’s use of

the harp and of divided strings is particularlyimaginative, and strikingly ‘advanced’ for its time.Finally comes a bacchanalian depiction of Neopolitanstreet life, making extensive use of phrases from thefamous popular song ‘Funiculi, Funicula’. It may be hardto believe, but at the première in Strauss’s home city,Munich, in 1887 this movement was booed in someparts of the hall – at which Strauss expressed himself‘immensely proud. This is the first work of mine to havemet with the opposition of the mob, so it must be ofsome importance.’

Programme notes by Stephen Johnson © 2010

PROGRAMME NOTES

Download London Philharmonic Orchestra recordings from www.lpo.org.uk/shop

It’s easy to take the London Philharmonic Orchestra with you wherever you go! Visit ourdownloads site to choose the works (or even single movements) you’d like to buy, anddownload high quality MP3s to your computer for transfer to an MP3 player or CD. Withregular additions of new recordings with conductors from Beecham to Jurowski you’ll alwayshave a selection of great music to choose from.



NEW RECORDINGSON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. They may alsobe purchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 0207840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

LPO-0043 Vladimir Jurowski conducts Brahms’s Symphonies 1 and 2

‘This pair of budget-priced CDs on the LPO’s own label demonstrate how, inthe right hands, the first two symphonies can thrill and delight … exquisitewind playing …genuinely exciting …’GRAHAM RICKSON, THE ARTS DESK, 22 FEBRUARY 2010

LPO-0044 Klaus Tennstedt conducts Mahler’s Symphony 2 (Resurrection)with soloists Yvonne Kenny, Jard Van Nes and the London PhilharmonicChoir

‘This live version of the Resurrection is frequently startling – extremelyexpansive but exciting, dramatic and highly charismatic …The playing andsinging are excellent, and the recording, made by the Music PerformanceResearch Centre, is near-faultless.’GRAHAM RICKSON, THE ARTS DESK, 22 MARCH 2010

LPO-0045 Yannick Nézet-Séguin conducts Brahms’s A German Requiemwith Elizabeth Watts, Stéphane Degout and the London PhilharmonicChoir

NEW RELEASE

LPO-0042 Neeme Järvi conducts Dvor̆ák’s Requiem.

‘Neeme Järvi leads a sturdy, evocative performance graced by gorgeoussinging from the London Philharmonic Choir.’JOSHUA KOSMAN, SAN FRANCISCO CHRONICLE, 7 MARCH 2010



Our season ends with a new beginning – the first performance of Ravi Shankar’s Symphony.

Thursday 1 July 2010 | 7.30pmRoyal Festival Hall

John Adams Shaker LoopsPhilip Glass Violin Concerto 1Ravi Shankar Symphony

David Murphy conductorRobert McDuffie violinAnoushka Shankar sitar

FREE Pre-Concert Event6.15pm | Royal Festival HallAn introduction to the music of RaviShankar.

Tickets £9-£38 / Premium seats £55

For booking details see page 16.

FUNharmonics Family Concert

JourneysSaturday 8 May 2010 | 11.30amRoyal Festival Hall

Adams Short Ride in a Fast MachineDvořák Symphony 9 (From the NewWorld) – ScherzoMendelssohn Symphony 3 (Scottish) –Second MovementMarianelli The Seahorse’s JourneyDebussy Ibéria – Le Matin d’un jour de fêteRozsa The Golden Voyage of SinbadSchifrin (arr. Townend) Mission Impossible

Ralf Sochaczewsky conductorChris Jarvis presenter

Foyer Events from 10amYou can try your hand at playing an orchestralinstrument in one of our Have-a-Go sessions, getyour face painted or join our human orchestra – allin the foyers before and after the performance.Generously supported by The Jeniffer & JonathanHarris Charitable Trust.

TICKETSChild £4-£7; Adult £8-£14For booking details see page 16.



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Marika Cobbold & Michael Patchett-Joyce

Mr & Mrs Stewart CohenMr Alistair CorbettMr David EdgecombeMr Richard FernyhoughKen Follett

Michael & Christine HenryMr Glenn HurstfieldMr R K JehaMr & Mrs Maurice LambertMr Gerald LevinSheila Ashley LewisWg. Cdr. & Mrs M T LiddiardOBE JP RAF

Mr Frank LimPaul & Brigitta LockMr Brian MarshJohn MontgomeryMr & Mrs Egil OldeideEdmund PirouetMr Michael PosenMr Peter TausigMrs Kazue TurnerLady Marina VaizeyMr D Whitelock

Hon. BenefactorElliott Bernerd

Hon. Life MembersKenneth GoodeMrs Jackie Rosenfeld OBE

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, PrincipalBenefactors and Benefactors:



PHILHARMONIC NEWS

Indian Spring and Summer

On 8 April the Orchestra’s Renga ensemble returnedfrom a short trip to India. This small group of playersfrom the Orchestra, who regularly collaborate withmusicians from outside the classical mainstream, gavethree concerts with the Karnataka College of Percussionat Mumbai, Bangalore and Delhi under the leadershipof Scott Stroman.

Alongside these performances, Orchestra musicianstook part in workshops for local schools and educationinstitutions. Led by animateur Lucy Forde, theworkshops introduced students to different orchestralinstruments and showcased exciting works from theWestern classical repertoire.

The trip was generously supported by Aviva, theInternational Touring Partner of the LondonPhilharmonic Orchestra.

If you want to catch the Orchestra’s Renga ensemble inthe UK, they will be performing with folk groupBellowhead on The Clore Ballroom at the Royal FestivalHall at 5.30pm on Wednesday 12 May.

On 7 April at the Royal Festival Hall the LondonPhilharmonic Orchestra took part in a concert of musicby A. R. Rahman who has written music for many filmsincluding Slumdog Millionaire. The concert was part ofSouthbank Centre’s Alchemy festival which this yearwas curated by BBC Asian Network DJ, NihalArthanayake.

Later this season,on 1 July, we aredelighted to beperforming theworld première ofRavi Shankar’sSymphony.

This legendarysitarist andcomposer isIndia’s mostesteemed musicalambassador. He iswell known for

his pioneering work in bringing Indian music to theWest. He has collaborated with George Harrison andPhilip Glass and composed extensively for films andballets. His works already include two concertos forsitar and orchestra, violin/sitar compositions for YehudiMenuhin and himself and music for flute virtuoso Jean-Pierre Rampal. Join us on 1 July to hear his latestorchestral composition.

New Music

The London Philharmonic Orchestra’s next concert on17 April, conducted by Marin Alsop, features the UKpremière of Texan Tenebrae by our Composer inResidence, Mark-Anthony Turnage. Turnage’s current

major project isan opera, AnnaNicole, to bepremièred at theRoyal OperaHouse, CoventGarden nextFebruary. TexanTenebrae is not anexcerpt from thescore of the opera,but anindependentfantasy, lastingabout nineminutes, on oneof its main

musical ideas. Texan Tenebrae was given its worldpremière in January 2010 by the London PhilharmonicOrchestra, conducted by Vladimir Jurowski, in theAuditorio de Tenerife, as part of the Canary IslandsMusic Festival.

Also in the programme on 17 April is the Europeanpremière of Philip Glass’s Second Violin Concertosubtitled The American Four Seasons. The soloist will beRobert McDuffie for whom the work was composed.The last item in the programme will be Górecki’sSymphony 3 (The Symphony of Sorrowful Songs) withJoanna Woś as the soprano soloist. Regrettably, due tohealth problems, Henryk Górecki was unable tocomplete the Symphony 4 which was scheduled toreceive its world première on this date.Ravi Shankar

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ADMINISTRATION

BOARD OF DIRECTORS

Martin HöhmannChairmanStewart McIlwhamVice-ChairmanSue BohlingSimon CarringtonLord Currie*Jonathan Dawson*Anne McAneneyGeorge PenistonSir Bernard Rix*Kevin RundellSir Philip Thomas*Sir John Tooley*The Rt Hon. Lord Wakeham DL*Timothy Walker AM †*Non-Executive Directors

THE LONDON PHILHARMONIC TRUST

Pehr Gyllenhammar ChairmanDesmond Cecil CMGRichard Karl GoeltzJonathan Harris CBE FRICSDr Catherine C. HøgelMartin HöhmannAngela KesslerClive Marks OBE FCAVictoria SharpJulian SimmondsTimothy Walker AM †Laurence WattSimon Yates

AMERICAN FRIENDS OF THELONDON PHILHARMONICORCHESTRA, INC.

We are very grateful to theBoard of the American Friendsof the London PhilharmonicOrchestra for its support ofthe Orchestra’s activities inthe USA.

PROFESSIONAL SERVICES

Charles RussellSolicitors

Horwath Clark Whitehill LLPAuditors

Dr Louise MillerHonorary Doctor

GENERAL ADMINISTRATION

Timothy Walker AM †Chief Executive and Artistic Director

Alison AtkinsonDigital Projects Manager

Julius HendriksenAssistant to the Chief Executiveand Artistic Director

FINANCE

David BurkeGeneral Manager andFinance Director

David GreensladeFinance and IT Manager

Joshua FoongFinance Officer

CONCERT MANAGEMENT

Roanna ChandlerConcerts Director

Ruth SansomArtistic Administrator

Graham WoodConcerts, Recordings andGlyndebourne Manager

Alison JonesConcerts Co-ordinator

Matthew FreemanRecordings Consultant

ORCHESTRA PERSONNEL

Andrew CheneryOrchestra Personnel Manager

Sarah ThomasLibrarian

Michael PattisonStage Manager

Camilla BeggAssistant Orchestra PersonnelManager

Ken Graham TruckingInstrument Transportation(Tel: 01737 373305)

EDUCATION ANDCOMMUNITY PROGRAMME

Matthew ToddEducation and Community Director

Anne NewmanEducation Officer

Isobel TimmsCommunity Officer

Alec HaylorEducation and Community Assistant

Richard MallettEducation and Community Producer

DEVELOPMENT

Nick JackmanDevelopment Director

Phoebe RouseCorporate Relations Manager

Sarah TattersallCorporate Relations and Events Manager

Melissa Van EmdenCorporate Relations and Events Officer

Anna GoverCharitable Giving Officer

MARKETING

Kath TroutMarketing Director

Frances CookPublications Manager

Samantha KendallBox Office Administrator(Tel: 020 7840 4242)

Valerie BarberPress Consultant(Tel: 020 7586 8560)

ARCHIVES

Edmund PirouetConsultant

Philip StuartDiscographer

Gillian PoleRecordings Archive

INTERN

Jo LangstonMarketing


89 Albert Embankment London SE1 7TPTel: 020 7840 4200Fax: 020 7840 4201Box Office: 020 7840 4242

www.lpo.org.ukVisit the website for fulldetails of LondonPhilharmonic Orchestraactivities.

The London PhilharmonicOrchestra Limited is aregistered charity No. 238045.

Photographs of Verdi, Dvořákand Strauss courtesy of theRoyal College of Music,London.

Photograph on the front cover by Benjamin Ealovega.

Programmes printed by Cantate.

†Supported by Macquarie Group



FUTURE CONCERTSAT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

Saturday 17 April 2010 | 7.30pm

Turnage Texan Tenebrae (UK première)Glass Violin Concerto 2 – ‘The American Four Seasons’(European première)Górecki Symphony 3 (Symphony of Sorrowful Songs)

Marin Alsop conductorRobert McDuffie violinJoanna Woś soprano

FREE Pre-Concert Event6.15pm | Royal Festival HallMarin Alsop introduces the evening’s programme.

This concert is supported by the Adam MickiewiczInstitute as part of POLSKA! YEAR.

Wednesday 21 April 2010 | 7.30pm

Ives The Unanswered QuestionBernstein Symphony 2 (Age of Anxiety)Shostakovich Symphony 5

Marin Alsop conductorNicolas Hodges piano

Wednesday 28 April 2010 | 7.30pm

Prokofiev Sinfonia concertanteMyaskovsky Symphony 6

Vladimir Jurowski conductorDanjulo Ishizaka celloLondon Philharmonic Choir

Barlines | FREE Post-Concert EventClore Ballroom Floor, Royal Festival Hall FoyerAn informal discussion with Vladimir Jurowski onMyaskovsky’s Symphony 6.

Saturday 1 May 2010 | 7.30pm

Wagner Overture to FaustBrahms Alto RhapsodyLiszt Faust Symphony

Vladimir Jurowski conductorAnna Larsson contraltoPeter Auty tenorLondon Philharmonic Choir

FREE Pre-Concert Event6.15pm | Royal Festival HallAn exploration of Faust in music.

Friday 7 May 2010 | 7.30pm

Tchaikovsky Francesca da RiminiLiszt Piano Concerto 2Vaughan Williams Fantasia on a Theme of Thomas TallisDvořák Symphonic Variations

Benjamin Northey conductorArnaldo Cohen piano

TO BOOKTickets £9-£38 / Premium seats £55

London Philharmonic Orchestra Ticket Office020 7840 4242 | www.lpo.org.ukMon-Fri 10am-5pm; no booking fee

Southbank Centre Ticket Office | 0844 847 9920www.southbankcentre.co.uk/lpoDaily, 9am-8pm. £2.50 telephone / £1.45 online bookingfees; no fee for Southbank Centre members

Marin Alsop andNicolas Hodges

Anna Larsson andPeter Auty

Vladimir Jurowskiand DanjuloIshizaka


14Apr10 programme notes

Documents

Transcript of 14Apr10 programme notes