London Philharmonic Orchestra 9 April 2016 concert programme

Concert programme2015/16 London Seasonlpo.org.uk

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family FoundationPrincipal Guest Conductor ANDRÉS OROZCO-ESTRADALeader pIETER SChOEMAN supported by Neil WestreichComposer in Residence MAgNUS LINDbERgPatron hRh ThE DUKE OF KENT Kg

Chief Executive and Artistic Director TIMOThY WALKER AM

Contents

2 Welcome Orchestra news 3 On stage tonight4 About the Orchestra5 Leader: Pieter Schoeman6 Christoph Eschenbach7 Sarah Tynan Matthias Goerne8 London Philharmonic Choir9 Programme notes11 Recommended recordings12 A German Requiem text14 A German Requiem on the LPO Label15 Next concerts16 NOISE: students and under-26s17 LPO 2016/17 season 18 Sound Futures donors19 Supporters20 LPO administration

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

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Southbank Centre’s Royal Festival hallSaturday 9 April 2016 | 7.30pm

Schoenberg Verklärte Nacht (1943 version) (32’)

Interval (20’)

brahms A German Requiem, Op. 45 (68’)

Christoph Eschenbach conductor Sarah Tynan sopranoMatthias goerne baritoneLondon philharmonic Choir Free pre-concert performance

6.00–6.45pm | Royal Festival hall

Our creative cross-arts ensemble, LPO Soundworks, takes the characters and words of The Bard of Avon as inspiration for its latest collaborative performance.

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, Caffè 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

New season now on sale!Next season's LPO concerts at Royal Festival Hall are now open for booking. After the huge success of The Rest Is Noise festival in 2013, we are excited to be collaborating once again with Southbank Centre on another large-scale multi-artform festival. Belief and Beyond Belief will interest atheists, agnostics and those of all faiths. We have devoted our 2017 concerts to the festival, beginning with Beethoven's profound statement on the human condition, Fidelio. LPO Principal Conductor and Artistic Advisor Vladimir Jurowski takes a major role throughout as we explore belief as revealed in works ranging from Haydn's The Creation to John Adams's Harmonielehre. See more details on page 17, browse the full 2016/17 season brochure online at lpo.org.uk/newseason or call us on 020 7840 4200 to request a copy in the post.

The LpO on Instagram You can now find us on Instagram! Head over to our page @londonphilharmonicorchestra and follow us for exclusive backstage

access. We’ll be sharing behind-the-scenes content to give you an insight into all things LPO, from the musicians themselves, to the On The Road team, and to the audiences at our concerts – tag us #londonphilharmonicorchestra so we can share in your experience...

Team LpOOn Sunday 10 July a team of LPO musicians, staff and supporters will be taking part in the Vitality British 10k London Run in aid of the Orchestra’s schools concerts, BrightSparks. All money raised will allow over 12,000 young people from our South London communities and further afield to attend one of our live schools concerts, many for the very first time.

Join Team LPO to run alongside our musicians in support of a great cause. We hope that each participant will commit to raising a minimum of £250. The LPO will provide support for your fundraising endeavours. To get up and running please contact Helen Yang on 020 7840 4225 or [email protected]

London Philharmonic Orchestra | 3

On stage tonight

Chair Supporters

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Jon Claydon • Andrew Davenport • David & Victoria Graham Fuller • Dr Barry Grimaldi Simon Robey • Bianca and Stuart Roden • Caroline, Jamie & Zander Sharp • Laurence Watt

First ViolinsPieter Schoeman* Leader

Chair supported by Neil Westreich

Ilyoung ChaeChair supported by an anonymous donor

Ji-Hyun LeeChair supported by Eric Tomsett

Katalin VarnagyChair supported by Sonja Drexler

Catherine CraigThomas EisnerMartin Höhmann

Chair supported by The Jeniffer and Jonathan Harris Charitable Trust

Robert PoolSarah StreatfeildYang ZhangTina GruenbergRebecca ShorrockCaroline FrenkelNilufar AlimaksumovaGalina TanneyRobert Yeomans

Second ViolinsPhilippe Honoré

Guest PrincipalLorenzo Gentili-TedeschiFiona HighamJoseph MaherMarie-Anne MairesseAshley StevensHelena NichollsSioni WilliamsSheila LawRachel DinningElizabeth BaldeyEmma WraggJohn DickinsonKate Cole

ViolasBenjamin Roskams

Guest PrincipalGregory AronovichSusanne MartensEmmanuella ReiterLaura VallejoNaomi HoltAlistair ScahillDaniel CornfordStanislav PopovMartin FennSarah MalcolmMartin Wray

CellosPei-Jee Ng PrincipalFrancis BucknallLaura DonoghueSantiago Carvalho†Elisabeth Wiklander

Chair supported by The Viney Family

Sue Sutherley Susanna RiddellTom RoffHelen RathboneGeorge Hoult

Double bassesChris West Guest PrincipalGeorge PenistonLaurence LovelleLowri MorganKenneth KnussenHelen RowlandsCharlotte KerbegianBenjamin Wolstenholme

FlutesJuliette Bausor

Guest PrincipalSue Thomas*

Chair supported by Victoria Robey OBE

piccoloStewart McIlwham*

PrincipalChair supported by Friends of the Orchestra

OboesIan Hardwick* PrincipalAlice Munday

ClarinetsRobert Hill* PrincipalThomas Watmough

Sub-Principal

bassoonsGareth Newman PrincipalEmma Harding

ContrabassoonSimon Estell Principal

hornsMark Vines Principal Martin HobbsStephen NichollsGareth MollisonDuncan Fuller

TrumpetsNicholas Betts PrincipalAnne McAneney*

Chair supported by Geoff & Meg Mann

TrombonesMark Templeton* Principal

Chair supported by William & Alex de Winton

David Whitehouse

bass TromboneLyndon Meredith Principal

TubaLee Tsarmaklis* Principal

Timpani Antoine Bedewi Guest Principal

harpsRachel Masters* Principal Elizabeth McNulty

OrganCatherine Edwards

* Holds a professorial appointment in London

† Chevalier of the Brazilian Order of Rio Branco

Meet our members: lpo.org.uk/players


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 UK’s 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 world’s greatest conductors 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. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence.

The Orchestra is resident at Southbank Centre’s 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 composer’s 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 Stanisław Skrowaczewski, Jukka-Pekka Saraste and Vasily Petrenko, with Robin Ticciati returning after his debut in 2015; and in 2016 the LPO joins many of London’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400 years since his death. The Orchestra continues its commitment to new music with premieres of commissions including Magnus Lindberg’s Second Violin Concerto and Alexander Raskatov’s 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

Richard Fairman, Financial Times, September 2015

The LPO can stand alongside the top international orchestras with pride.


the Orchestra’s 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 Orchestra’s 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 10 Songs under Vladimir Jurowski, and a second volume of works by the Orchestra's former Composer in Residence, Julian Anderson.

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

The 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 across social media.

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 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.

The LPO can stand alongside the top international orchestras with pride.


Christoph Eschenbachconductor

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In demand as a distinguished guest conductor with the finest orchestras and opera houses throughout the world, Christoph Eschenbach began his tenure in September 2010 as Music Director of the National Symphony Orchestra in Washington DC, as well as Music Director of the city’s John F Kennedy Center for the Performing Arts. He was formerly Music Director of the Orchestre de Paris (2000–10), The Philadelphia Orchestra (2003–08), the NDR Symphony Orchestra (1998–2004) and the Houston Symphony (1988–99).

He is regularly invited to perform at prestigious music festivals including Salzburg, Prague, Tanglewood, Ravinia, Schleswig-Holstein, Rheingau, St Petersburg and Granada.

As a pianist, he continues his fruitful collaboration with baritone Matthias Goerne performing worldwide and recording recitals of the romantic Lieder repertoire of Schubert, Brahms and Schumann.

A prolific recording artist for over five decades, Eschenbach has an impressive discography as both conductor and pianist on a number of prominent labels. Recordings range from Bach to contemporary works and reflect his commitment to all genres of classical music. His Hindemith CD with violinist Midori and the NDR Symphony Orchestra received a Grammy Award in 2014. With the London Philharmonic Orchestra he has recorded several works for the Orchestra’s own label: Bruckner’s Symphony No. 6 (LPO-0049), Beethoven’s Missa Solemnis (LPO-0061) and most recently Messiaen’s Des canyons aux étoiles (LPO-0083; see opposite).

Christoph Eschenbach was mentored by George Szell and Herbert von Karajan, and so it is important to him to pass on his own musical knowledge and experience. He dedicates time each season to run masterclasses and orchestra academies for young performers, such as the Schleswig-Holstein Academy Orchestra, Kronberg Academy and Manhattan School of Music.

His many honours include the Légion d’Honneur, Commandeur dans l’Ordre des Arts et des Lettres, the Commander’s Cross of the German Order of Merit, and the Leonard Bernstein Award from the Pacific Music Festival. Last year he received the Ernst von Siemens Music Award in honour of his life’s dedication to music.

christoph-eschenbach.com

Eschenbach and his London Philharmonic players had the measure of the music’s vast perspectives.

Nick Kimberley, Evening Standard (Messiaen Des canyons aux étoiles, 2 November 2013, Royal Festival Hall)

Eschenbach conducts on the LpO Label

Messiaen Des canyons aux étoiles(From the Canyons to the Stars)

Christoph Eschenbach conductorTzimon barto pianoJohn Ryan hornAndrew barclay xylorimbaErika Öhman glockenspielLondon philharmonic Orchestra

LpO-0083 | £10.99 (2 CDs)

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), the Royal Festival Hall shop and all good CD outlets.


Sarah Tynansoprano

This season Sarah Tynan sings Merab in the Glyndebourne on Tour production of Handel’s Saul throughout the UK and in Bucharest, and Ginevra in Handel’s Ariodante with Scottish Opera. Concert engagements include Handel’s Messiah with the Ulster Orchestra

and the Gabrieli Consort; Tippett’s A Child of Our Time and Orff’s Carmina Burana with the BBC Symphony Orchestra; Brahms’s German Requiem with both the London Philharmonic and Bournemouth Symphony orchestras; Mahler’s Symphony No. 4 with the City of Birmingham Symphony Orchestra; and Ännchen in Weber’s Der Freischütz with the Orchestra of the Age of Enlightenment.

Operatic highlights include the world premiere of Dai Fujikura’s Solaris at the Théâtre des Champs-Élysées, Opéra de Lille and Opéra de Lausanne; Romilda in Xerxes and Marzelline in Calixto Bieito’s production of Beethoven’s Fidelio at English National Opera; Cleopatra in Giulio Cesare and Carrie Pipperidge in Carousel at Opera North; Sharon Disney in the world premiere of Philip Glass’s The Perfect American at Teatro Real, Madrid and at ENO; Susanna in Le nozze di Figaro at Cincinnati Opera; Iris in Semele at La Monnaie; Dalinda in Ariodante at Opera de Oviedo; Servilia in La clemenza di Tito with the OAE, and Luigi Nono’s Al gran sole carico d’amore at the Salzburg Festival.

Sarah recently made her Cincinnati Symphony debut in Carmina Burana, which she has also sung with the BBC Philharmonic, the Royal Philharmonic and the BBC National Orchestra of Wales and recorded with the LPO on its own label (LPO-0076). She has also performed Haydn’s The Creation with the London Symphony Orchestra, at Lincoln Center and at the Handel & Haydn Society; Mahler’s Symphony No. 8 with the Philharmonia and Royal Scottish National orchestras; Mendelssohn’s A Midsummer Night’s Dream in Glyndebourne’s Vladimir Jurowski Celebration; Ryan Wigglesworth’s Augenlieder with the CBSO; Dallapiccola’s Partita at the BBC Proms; and Campra’s Le carnaval de Venise with Le Concert Spirituel and Hervé Niquet.

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Matthias Goerne is one of the most internationally sought-after vocalists, and a frequent guest at renowned festivals and concert halls. He has collaborated with leading orchestras all over the world. Among his musical partners are conductors of the first

rank, as well as many eminent pianists.

Since his operatic debut at the Salzburg Festival in 1997 as Papageno, Matthias Goerne has appeared on the world’s principal opera stages including the Royal Opera House, Covent Garden; Teatro Real, Madrid; Paris National Opera; Vienna State Opera; and the Metropolitan Opera, New York. His carefully chosen roles range from Wolfram (Tannhäuser), Amfortas (Parsifal) and Kurwenal (Tristan und Isolde) to the title roles in Berg’s Wozzeck, Bartók’s Bluebeard’s Castle and Hindemith’s Mathis der Maler.

Goerne’s artistry has been documented on numerous recordings, many of which have received prestigious awards. He recently completed a 12-CD series of selected Schubert songs (‘The Goerne/Schubert Edition’) for Harmonia Mundi, and his debut as Wotan on a new recording of Wagner’s Das Rheingold with Jaap van Zweden received rave reviews.

Born in Weimar, Matthias studied with Hans-Joachim Beyer in Leipzig, and with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. He is an Honorary Member of the Royal Academy of Music in London.

Highlights in 2015/16 include song recitals at London’s Wigmore Hall, New York’s Lincoln Center, the San Francisco Opera and the Sydney Festival (in a William Kentridge production of Winterreise); performances with the Royal Concertgebouw Orchestra, the New York Philharmonic and the St Petersburg Philharmonic; and several appearances at the Vienna State Opera in the role of Orest (Elektra), as well as his debut as Wotan in Wagner’s Die Walküre with the Hong Kong Philharmonic Orchestra.

Matthias Goernebaritone


London Philharmonic Choir

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for almost 70 years and made numerous recordings for CD, radio and television.

Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. The Choir had a busy last season performing Mahler’s Symphony No. 2 under the Orchestra’s new Principal Guest Conductor Andrés Orozco-Estrada; Rachmaninoff’s The Bells with Vasily Petrenko; and three performances with the Orchestra’s Principal Conductor Vladimir Jurowski, including works by Verdi, Stravinsky, Rachmaninoff and Ravel. This season the Choir was delighted to perform Taneyev’s St. John of Damascus and Szymanowski’s Stabat Mater.

The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given

performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton.

A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. The Choir has appeared twice at the Touquet International Music Masters Festival, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem. It recently returned from a trip to Brussels, performing Szymanowski’s Stabat Mater and Zemlinsky’s Psalm 23, Op. 14.

The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit lpc.org.uk

In 2006 the Choir performed Brahms’s A German Requiem in St Paul’s Cathedral under the baton of Kurt Masur. Many members of the Choir fondly remember being inspired by Maestro Masur’s love of this Requiem, at one time advising them ‘Life is beautiful, die smiling!’ We were very sorry to hear of Maestro Masur’s passing in December last year and would like to dedicate the Choir’s performance this evening to his memory.

patron HRH Princess Alexandra | president Sir Mark Elder | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Ian Frost | Choir Manager Tessa Bartley

SopranosCatherine Allum, Annette Argent, Jane Awdry, Tessa Bartley, Hilary Bates, Catherine Boxall, Laura Buntine, Carole Cameron, Charlotte Cantrell, Olivia Carter, Paula Chessell, Alana Clark, Olivia Clark, Eve Commander, Sally Cottam, Harriet Crawford, Sarah Deane-Cutler, Victoria Denard, Jessica Dixon, Jessica Eucker, Rachel Gibbon, Lydia Grant, Jane Hanson, Rebecca Harries, Sally Harrison, Laura Hunt, Jenni Kilvert, Olivia Knibbs, Suzannah Lipmann, Martha MacBean, Ros Mann, Janey Maxwell, Katie Milton, Harriet Murray, Mariana Nina, Carmel Oliver, Angelina Panozzo, Lydia Pearson, Marie Power, Danielle Reece-Greenhalgh, Rebecca Schendel, Rebecca Sheppard, Victoria Smith, Victoria Sutcliffe, Susan Thomas, Rachel Topham, Jenny Torniainen, Sarah van Staveren, Jessica Watson, Susan Watts, Joanna Webster, Charlotte Wielgut

Altos Jenny Adam, Christine Allison, Phye Bell, Sally Brien, Andrei Caracoti, Lara Carim, Isabelle Cheetham, Noel Chow, Liz Cole, Emily Dankworth, Andrea Easey, Carmel Edmonds, Pauline Finney, Regina Frank, Kathryn Gilfoy, Emily Hill, Kristi Jagodin, Marjana Jovanovic Morrison, Charlotte Kingston, Marissa Landy, Andrea Lane, Elaine Lewis, Lisa MacDonald, Laetitia Malan, Marj McDaid, Kristen Mooy, Sophie Morrison, Annabeth Murphy-Thomas, Rachel Murray,

Monika Okreglicka-Mazur, Miranda Ommanney, Magdalen Peel, Sheila Rowland, Carolyn Saunders, Rima Sereikiene, Rachel Taylor, Catherine Travers, Susi Underwood, Snezhana Valcheva, Jenny Watson, Emma Windle

Tenors David Aldred, Geir Andreassen, Christopher Beynon, James Clarke, Tom Dalglish, Kevin Darnell, Robert Geary, Alan Glover, Joshua Haley, Iain Handyside, David Hoare, Stephen Hodges, Patrick Hughes, Andrew Mackie, Tony Masters, Javier Ruiz, Knut Olav Rygnestad, Keith Saunders, Jaka Škapin, Claudio Tonini, Jeremy Wong, Tony Wren, Martin Yates

bassesJonathon Bird, Peter Blamire, Filipe Caetano, Geoff Clare, John Clay, Phillip Dangerfield, Marcus Daniels, Neville Filar, Halldor Fosså, Ian Frost, Christopher Gadd, Paul Gittens, Christopher Harvey, Nicholas Hennell-Foley, Mark Hillier, David Hodgson, Yaron Hollander, Martin Hudson, Ashley Jacobs, David Kent, John Luff, Anthony McDonald, Richard Miller, John D Morris, John G Morris, Ashley Morrison, Luke Murphy, Will Parsons, Johan Pieters, John Salmon, Ed Smith, Tom Stevenson, Peter Taylor, Alex Thomas, James Torniainen, Trevor Watson


Programme notes

History has dealt the music of the Second Viennese School something of an unjust reputation. Often perceived as unwieldy and academic, prioritising musical complexity over meaningful expression, the works of Arnold Schoenberg, Anton Webern and Alban Berg are still relatively rare inclusions in concert programmes. But much of their music is easier on the ear than some might expect, bathed in the dying throes of Romanticism. If their music is not immediately expressive to the listener, it is nevertheless grounded in a lyrical impulse.

At the premiere of Verklärte Nacht (‘Transfigured Night’) in its original string sextet version in Vienna in 1902, Schoenberg’s audience did not agree. There were horrified gasps at the modernity of its harmonies, derision at the appearance of new chords that ostensibly ‘did not exist’ (‘Then they cannot be

Verklärte Nacht (1943 version)Arnold Schoenberg

1874–1951

performed’, Schoenberg wryly retorted) and shock at the explicit content of its programme. This programmatic work was so unlike anything the public had heard before, combining the grand symphonic poems of Liszt and Strauss with the intimacy of a chamber ensemble, that the concert ended in a riot.

Composed in just three weeks while Schoenberg was on holiday in the Austrian countryside in September 1899, Verklärte Nacht would become known as the composer’s first major work and the first to signal his departure from traditional concepts of tonality. Just a few years earlier, Schoenberg had been composing within a recognisable tonal idiom, but in Verklärte Nacht these boundaries begin to be broken down, with intense chromaticism and swathes of near-atonality obscuring familiar tonal reference points. His aim, as he wrote, was not to create a dramatic work in any traditional

‘Brahms, the classicist, the academician, was a great innovator in the realm of musical language … in fact, he was a great progressive’, declared Schoenberg in a lecture given on the 100th anniversary of Brahms’s birth. That Schoenberg – the confident, self-taught composer who would later boast that his twelve-tone technique would ‘ensure the supremacy of German music for the next hundred years’ – should be so effusive about Brahms shows just how highly he regarded his predecessor. Not one to underplay his own talents, he also acknowledged Brahms’s influence on Verklärte Nacht, citing his technique of ‘developing variation’ as a major feature in the thematic construction of the work.

Although Brahms could hardly have anticipated the radical new directions in which Schoenberg would take his legacy little more than 20 years after his death, the foundations for Schoenberg’s groundbreaking harmonic developments were laid down within Brahms’s works. With its broad harmonic palette, bold use of chromaticism and exquisite craftsmanship, Brahms’s German Requiem was every inch as progressive for the 19th century as Schoenberg’s works were for the 20th. A Requiem unlike any other, Brahms’s masterpiece is a work of consolation and comfort for the living, rather than a sorrowful memorial for the dead.

Speedread


Programme notes continued

1 Selig sind, die da Leid tragen2 Denn alles Fleisch, es ist wie Gras3 Herr, lehre doch mich4 Wie lieblich sind deine Wohnungen5 Ihr habt nun Traurigkeit6 Denn wir haben keine bleibende Statt7 Selig sind die Toten

The texts begin over the page.

‘If he will only point his magic wand to where the powers amassed in the orchestra and chorus lend him their might’, said Robert Schumann of Johannes Brahms, ‘yet more wonderful glimpses into the mysteries of the spirit world would await us’. Schumann believed a large-scale choral-cum-orchestral work from his young acolyte’s pen would prove a masterpiece. But Brahms needed more than verbal inspiration, and he soon got it: months later, Schumann unsuccessfully attempted suicide and was admitted to an asylum. Two years after that he died, his wife Clara, with Brahms, at his bedside.

Johannesbrahms

1833–97

A german Requiem, Op. 45

Sarah Tynan sopranoMatthias goerne baritoneLondon philharmonic Choir

sense, but rather to give an ‘impression’ through music: ‘My composition was, perhaps, somewhat different from other illustrative compositions … because it does not illustrate any action or drama, but was restricted to portray nature and express human feelings ... in other words, it offers the possibility to be appreciated as “pure” music.’

Inspired by a poem of the same name by the German symbolist poet Richard Dehmel, Verklärte Nacht follows two lovers as they walk through the forest at night, before the woman reveals that she is pregnant with another man’s child. Just as Dehmel’s poem emphasises the emotions at the centre of the story rather than the narrative itself, so Schoenberg’s setting focuses not on their actions, but on the intense psychological drama that unfolds around the woman’s confession and the man’s response. In its structure, Schoenberg loosely follows that of the poem too, dividing his single-movement work into a five-part arch in which sections 1, 3 and 5 describe the lovers and their shadowy surroundings, section 2 presents the woman’s

anguished confession and section 4 the man’s quiet declaration of forgiveness. This formal structure is also cemented by a sweeping tonal arc that sees the work open sombrely in D minor, descend into ambiguity at its centre as the woman ‘stumbles on’ with a heavy heart, but emerge resplendently in D major towards the close as the woman declares: ‘You have brought the glow into me, you have made me like a child myself.’ As the couple gaze around them at the beauty of the glittering skies, their love transforms heartbreak into happiness, and the ‘bare, cold wood’ transfigures into a ‘high, bright night’.

Although Verklärte Nacht was originally scored for string sextet, it is now better known in the arrangement that Schoenberg made for string orchestra in 1917 and revised once more in 1943, and it is the latter version that we hear tonight.

Programme note and Speedread © Jo Kirkbride

Please note that this piece replaced the originally advertised work.

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


Brahms’s reaction to the loss of his artistic guiding star was the sketching of a symphony that never saw the light of day. Instead, some ten years later, Brahms reused some of the material as the starting point for a Requiem (other chunks made their way into the D minor Piano Concerto). The tragedy of Schumann’s death would doubtless have haunted him still, but there was another deadly blow coming Brahms’s way: the death of his mother, to whom he had been particularly close, in 1865.

And so the creation of A German Requiem began in earnest, Brahms sending two completed movements to Schumann’s widow Clara just months after his mother’s passing. In the summer of 1866 it was complete; Schumann’s wish for a musical glimpse of the heavens from Brahms’s pen had been posthumously granted. But despite the backdrop of death against which it was created, Brahms’s Requiem was a very hopeful one, and, indeed a very German one: a piece that captures a cultural rather than dogmatic view of Brahms’s Germany, carrying the gift of spiritual comfort rather than the threat of impending judgement. The first performance proper of A German Requiem – then for baritone soloist, chorus and orchestra – came in Bremen on Good Friday 1868. The composer subsequently added the fifth movement with soprano soloist, and the newly completed piece was first heard in Leipzig in February 1869, soon thereafter being recognised as the first major masterpiece of a mature composer.

What Brahms wrote was not only exquisite and profoundly moving, but also largely unprecedented. It includes no direct reference to Christ, and sets not the words of the Requiem Mass (or even their Lutheran equivalent), but a selection of biblical excerpts from the books of Psalms, Revelation, Ecclesiasticus, Isaiah and Hebrews, the epistles of St Paul and the gospels of St Matthew and St John, among others.

Despite the abstracted, humanist qualities of much of his chosen texts, Brahms’s musical inspirations were more traditionally sacred and ritualistic. Schumann had instilled in him a fascination for music of the Renaissance and Baroque eras, a characteristic both composers shared with Felix Mendelssohn. The spirit of such music shines through much of A German Requiem; its sense of balance, its instrumental and choral colours, its musical painting of words and its watertight cohesion (the latter itself a Brahmsian hallmark).

So just how did Brahms fashion a work that seems to rest contented upon its performers like a rock-steady faith? Well, partly through his reliance on two motifs, each movement taking either one as its basis. The first of these is the Bach chorale theme ‘Wer nur den lieben Gott lässt walten’, which is detectable in Brahms’s second movement funeral march, and also steers the work’s opening bars (recurring, therefore, as Brahms recalls his opening material at the work’s conclusion – another act of reassurance). The second is a simple 1–3–4 idea (think of the first three notes of the carol ‘Once in Royal David’s City’) which features consistently in the other movements as both a thematic ‘motto’ and an incidental gesture. Soon, therefore, the music feels familiar; the movements, though different, referencing one another’s sentiments rather than providing the traditional thematic contrast between eternal damnation and eternal paradise.

In addition to these references to the compositional past, Brahms also turns to the ‘contrapuntal’ technique of fugue, long associated with sacred music. The second, third and sixth movements of the Requiem are capped by fugal codas, though heard in a fully Brahmsian idiom using chromatic, expressive melodic shapes that are never virtuosic or awkwardly archaic. Indeed, Brahms’s music is all his own, and whilst he may himself have described the piece as being as much a ‘human’ as a ‘German’ Requiem, it is also a deeply personal one.

Programme note © Andrew Mellor

Recommended recordings of tonight’s works

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

Schoenberg: Verklärte Nacht Yehudi Menuhin | Sinfonia Varsovia [Virgin Classics]

brahms: A german Requiem London Philharmonic Orchestra & Choir | Yannick Nézet-Séguin [LPO Label LPO-0045: see page 14]


A German Requiem text

1 Selig sind, die da Leid tragen

Selig sind, die da Leid tragen,denn sie sollen getröstet werden.Die mit Tränen säen,werden mit Freuden ernten.Sie gehen hin und weinen,und tragen edlen Samen,und kommen mit Freudenund bringen ihre Garben.

2 Denn alles Fleisch es ist wie gras

Denn alles Fleisch es ist wie Grasund alle Herrlichkeit des Menschenwie des Grases Blumen.Das Gras ist verdorretund die Blume abgefallen.

So seid nun geduldig, lieben Brüder,bis auf die Zukunft des Herrn.Siehe, ein Ackermann wartetauf die köstliche Frucht der Erde,und ist geduldig darüber,bis er empfange den Morgenregen undAbendregen.Aber des Herrn Wort bleibet in Ewigkeit.

Die Erlöseten des Herrn werden wiederkommen, und gen Zion kommen mit Jauchzen;Freude, ewige Freude wird über ihrem Haupte sein;Freude und Wonne werden sie ergreifen,und Schmerz und Seufzen wird weg müssen.

3 herr, lehre doch mich

Herr, lehre doch mich,dass ein Ende mit mir haben muss,und mein Leben ein Ziel hat, und ich davon muss.Siehe, meine Tage sind einer Handbreit vor dir, und mein Leben ist wie nichts vor dir. Ach, wie gar nichts sind alle Menschen,die doch so sicher leben.Sie gehen daher wie ein Schemen,und machen ihnen viel vergebliche Unruhe;sie sammeln und wissen nicht wer es kriegen wird.

blessed are they that mourn

Blessed are they that mourn, for they shall be comforted.They that sow in tearsshall reap in joy.He that goeth forth and weepeth,bearing precious seed,shall doubtless come again with rejoicing,bringing his sheaves with him.

For all flesh is as grass

For all flesh is as grass,and all the glory of manas the flower of grass.The grass withereth,and the flower thereof falleth away.

Be patient therefore, brethren,unto the coming of the Lord.Behold, the husbandman waitethfor the precious fruit of the earth,and hath long patience for it,until he receive the early and latter rain.

But the word of the Lord endureth for ever.

And the ransomed of the Lord shall return,and come to Zion with songsand everlasting joy upon their heads;they shall obtain joy and gladness,and sorrow and sighing shall flee away.

Lord, let me know mine end

Lord, let me know mine end, and the measure of my days,what it is; that I may know how frail I am.Behold, thou hast made my days as an handbreadth; and mine age is as nothing before thee;verily every man at his best state is altogether vanity.Surely every man walketh in a vain show;surely they are disquieted in vain;he heapeth up riches, and knoweth not who shall gather them.


Nun, Herr, was soll ich mich trösten?Ich hoffe auf dich.Der Gerechten Seelen sind in Gottes Hand,und keine Qual rühret sie an.

4 Wie lieblich sind deine Wohnungen

Wie lieblich sind deine Wohnungen,Herr Zebaoth!Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn;mein Leib und Seele freuen sich in dem lebendigen Gott.Wohl denen, die in deinem Hause wohnen,die loben dich immerdar.

5 Ihr habt nun Traurigkeit

Ihr habt nun Traurigkeit;aber ich will euch wieder sehen,und euer Herz soll sich freuen,und eure Freude soll niemand von euch nehmen.Ich will euch trösten wie einen seine Mutter tröstet.Sehet mich an:ich habe eine kleine Zeit Mühe und Arbeit gehabt,und habe grossen Trost gefunden.

6 Denn wir haben keine bleibende Statt

Denn wir haben keine bleibende Statt,sondern die zukünftige suchen wir.Siehe, ich sage euch ein Geheimnis:wir werden nicht alle entschlafen,wir werden aber alle verwandelt werden;und dasselbige plötzlich, in einem Augenblick,zu der Zeit der letzten Posaune.Denn es wird die Posaune schallen,und die Toten werden auferstehen unverweslich,und wir werden verwandelt werden.Dann wird erfüllet wardendas Wort, das geschrieben steht:Der Tod ist verschlungen in den Sieg.Tod, wo ist dein Stachel?

And now, Lord, what wait I for? My hope is in thee.But the souls of the righteous are in the hand of God, and there shall no torment touch them.

how lovely are thy dwellings

How lovely are thy dwellings,O Lord of hosts!My soul longeth, yea, even faintethfor the courts of the Lord;my heart and my flesh crieth out for the living God.Blessed are they that dwell in thy house;they will be still praising thee.

And ye now therefore have sorrow

And ye now therefore have sorrow;but I will see you again,and your heart shall rejoice,and your joy no man taketh from you.As one whom his mother comforteth, so will I comfort you.Behold with your eyes,how that I laboured but a little,and found for myself much rest.

For here have we no abiding city

For here have we no abiding city,but we seek one to come.Behold, I show you a mystery:we shall not all sleep,but we shall all be changed;in a moment, in the twinkling of an eye,at the last trump;for the trumpet shall sound,and the dead shall be raised incorruptible,and we shall be changed.Then shall be brought to passthe saying that is written:Death is swallowed up in victory.O death, where is thy sting?

Continued overleaf


Hölle, wo ist dein Sieg?Herr, du bist würdig zu nehmenPreis und Ehre und Kraft,denn du hast alle Dinge erschaffen,und durch deinen Willen haben sie das Wesen und sind geschaffen.

7 Selig sind die Toten

Selig sind die Totendie in dem Herren sterben, von nun an.Ja, der Geist sprichtdass sie ruhen von ihrer Arbeit,denn ihre Werke folgen ihnen nach.

O grave, where is thy victory?Thou art worthy, O Lord, to receiveglory and honour and power,for thou hast created all things,and for thy pleasurethey are and were created.

blessed are the dead

Blessed are the deadwhich die in the Lord from henceforth.Yea, saith the Spirit,that they may rest from their labours,and their works do follow them.

brahms: A german Requiem

Yannick Nézet-Séguin conductorElizabeth Watts sopranoStéphane Degout baritoneLondon philharmonic Orchestra and Choir

£9.99 | LpO-0045

A German Requiem text continued

‘A German Requiem that doesn’t rush and achieves a remarkable inwardness ... I found so many things to enjoy about this recording that I didn’t begrudge a single minute of the time spent to savour them.’

Peter Quantrill, Gramophone, August 2010

A german Requiem on the LpO Label

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets

Download or stream online via iTunes, Spotify, Amazon and others


Saturday 23 April | 7.30pmShAKESpEARE400: ANNIVERSARY gALA CONCERT

Scenes from: Verdi Otello Tchaikovsky Hamlet Vaughan Williams Serenade to Music britten A Midsummer Night’s Dream Mendelssohn A Midsummer Night’s

Dream berlioz Roméo et Juliette prokofiev Romeo and Juliet Thomas Adès The Tempest Walton Henry V Verdi Falstaff

Vladimir Jurowski conductor Simon Callow director London philharmonic Orchestra The glyndebourne Chorus Trinity boys Choir For full list of soloists visit lpo.org.uk

Concert generously supported by Victoria Robey OBE and members of the Shakespeare400 Syndicate

Saturday 30 April | 7.30pm

Rachmaninoff Piano Concerto No. 4 R Strauss An Alpine Symphony

Vladimir Jurowski conductor Alexey Zuev piano

Friday 15 April | 7.30pmJTI FRIDAY SERIES

De Falla The Three-cornered Hat (Suite No. 2) Rodrigo Fantasía para un gentilhombre prokofiev Romeo and Juliet (excerpts)

Jaime Martín conductor Xuefei Yang guitar*

* Due to an ongoing hand injury, it is with great regret that Miloš Karadaglić has had to withdraw from this concert. We are very grateful to Xuefei Yang for taking his place at short notice.

Wednesday 20 April | 7.30pm

Dukas La Péri Saint-Saëns Piano Concerto No. 5 (Egyptian) honegger Pacific 231 Debussy Images

Vladimir Jurowski conductor Javier perianes piano

Next concerts at Royal Festival Hall

Tickets £9–£39 (premium seats £65) 23 April Tickets £12–£48 (premium seats £75)

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MUSIC IS OUR WORLD.2016/17 Concert Season at Southbank Centre’s Royal Festival Hall

Highlights include:

— Belief and Beyond Belief, a year-long festival with Southbank Centre exploring what makes us human in the 21st century, offering the opportunity for personal exploration of belief through meaning, science, death, ideology and society. In partnership with Principal Conductor and Artistic Advisor Vladimir Jurowski

— Sibelius expert Osmo Vänskä presents a Symphony Cycle pairing Sibelius’s symphonies with concertos by British composers

— Soloists including Anne-Sofie Mutter, Nicola Benedetti, Julian Bliss, Steven Isserlis, Patricia Kopatchinskaja and Hilary Hahn

Great choral works including Haydn’s The Creation, Beethoven’s Missa Solemnis, Mozart’s Requiem, Mahler’s Symphony No. 8 and Beethoven’s Symphony No. 9 (Choral)

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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

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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 Høgel & Ben MardleMrs Philip KanRehmet Kassim-Lakha de MorixeRose & Dudley LeighLady Roslyn Marion LyonsMiss Jeanette MartinDuncan Matthews QCDiana & Allan Morgenthau

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Charitable TrustTimothy Walker AMChristopher WilliamsPeter Wilson SmithMr Anthony Yolland

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the Embassy of Spain in LondonThe 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

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

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The Tsukanov Family Foundation

Neil Westreich

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* 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 Malpas Virginia SlaymakerMr & Mrs G SteinMr & Mrs John C TuckerMr & Mrs John & Susi UnderwoodGrenville & 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 Graham Roger GreenwoodWim and Jackie Hautekiet-ClareTony & Susan HayesMr Daniel Heaf and Ms Amanda HillMichael & Christine HenryMalcolm HerringJ. Douglas Home

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and others who wish to remainanonymous

hon. benefactorElliott Bernerd

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


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board of DirectorsVictoria 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. Høgel Rachel Masters* George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines*Timothy Walker AM Laurence WattNeil Westreich David Whitehouse** Player-Director

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London Philharmonic Orchestra 9 April 2016 concert programme

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Transcript of London Philharmonic Orchestra 9 April 2016 concert programme