Concert programme

ROYAL LIVERPOOLPHILHARMONIC

ORCHESTRA

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Inspired by Alex Ross’ book The Rest Is Noise

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BBC SCOTTISH SYMPHONY ORCHESTRAILAN VOLKOV, ILYA GRINGOLTS & PATRICK GALLOIS TAKEMITSU & LIGETIThursday 28 November Royal Festival Hall, 7.30pm

Takemitsu’s lush, fi lmic sound-pictures and Ligeti’s rich, eccentric and colourful pieces are among the most appealing sounds of the late 20th century.

Takemitsu Green (November steps II); Marginalia; I hear the water dreaming for fl ute & orchestra Ligeti San Francisco Polyphony; Violin Concerto

‘[The BBC Scottish Symphony Orchestra conjured] a fragile world of magic and ritual, in an entirely convincing performance under a tireless Volkov’. (The Guardian)

Ilan Volkov © John Wood

Toru Takemitsu © Schott Music

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ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA VASILY PETRENkO conductor

Berio Quattro Versioni Originali della 'Ritirata notturna di Madrid' 9'

Britten Suite from Death in Venice arr. Steuart Bedford 27'

INTERVAL

Shostakovich Symphony No.15 in A Major 46'

Royal Festival Hall Sunday 3 November 2013, 7.30pm

Inspired by Alex Ross’ book The Rest Is Noise

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BBC SCOTTISH SYMPHONY ORCHESTRAILAN VOLKOV, ILYA GRINGOLTS & PATRICK GALLOIS TAKEMITSU & LIGETIThursday 28 November Royal Festival Hall, 7.30pm

Takemitsu’s lush, fi lmic sound-pictures and Ligeti’s rich, eccentric and colourful pieces are among the most appealing sounds of the late 20th century.

Takemitsu Green (November steps II); Marginalia; I hear the water dreaming for fl ute & orchestra Ligeti San Francisco Polyphony; Violin Concerto

‘[The BBC Scottish Symphony Orchestra conjured] a fragile world of magic and ritual, in an entirely convincing performance under a tireless Volkov’. (The Guardian)

Ilan Volkov © John Wood

Toru Takemitsu © Schott Music

Southbank Centre is grateful to the Hepner Foundation for supporting The Rest is Noise

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PHILIP GLASS ENSEMBLE: MUSIC IN 12 PARTS*Saturday 9 November 2013With Philip Glass on keyboards

STEVE REICH & THE COLIN CURRIE GROUP*Sunday 10 November 2013Programme includes Music for 18 Musicians

GYÖRGY AND MÁRTA KURTÁG AND HIROMI KIKUCHI*Sunday 1 December 2013 Excerpts from Játékok and Bach arrangements

QUATUOR MOSAÏQUESTuesday 25 February 2014Haydn, Mozart and Schubert

NIKOLAJ ZNAIDER & ROBERT KULEKSaturday 1 March 2014Schubert, Stravinsky, Beethoven and Brahms

ARTEMIS QUARTETTuesday 11 March 2014Beethoven and Brahms

ISABELLE FAUST, JEAN-GUIHEN QUEYRAS AND ALEXANDER MELNIKOVFriday 25 April 2014Haydn, Beethoven and Schumann

STEVEN ISSERLIS AND OLLI MUSTONENThursday 8 May 2014Shostakovich, Mustonen, Sibelius and Prokofi ev

BENJAMIN GROSVENOR AND ENDELLION QUARTETTuesday 10 June 2014Haydn, Britten and Brahms

Colin Currie © Timothy Cochrane

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* Part of The Rest is Noise, Southbank Centre’s festival based on Alex Ross’ book

International Chamber Music Season2013/14

The International Chamber Music Season is presented by Intermusica and Southbank Centre

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The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in general and classical music in particular. Inspired by Alex Ross’ book The Rest Is Noise, we use film, debate, talks and a vast range of concerts to reveal the fascinating stories behind the century’s wonderful and often controversial music.We have brought together some of the world’s finest orchestras and soloists to perform many of the most significant works of the 20th century. We reveal why these pieces were written and how they transformed the musical language of the modern world. Over the year, The Rest Is Noise features 12 focus weekends. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes.If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this.Join the journey: southbankcentre.co.uk/therestisnoiseJude Kelly OBE Artistic Director, Southbank Centre

This concert is part of The Rest Is Noise focus on Politics and Spirituality in the Late 20th Century: 1970 – 1989. After Stalin’s death in 1953, life behind the Iron Curtain slowly began to change – and by the 1970s the Soviet Union under Brezhnev was beginning to modernise. Symbols of the West such as jeans and rock music became popular in Soviet Russia, signalling a new era of cautious thawing of Cold War relations. In the West, the 1970s and ’80s were fast-paced decades – first a recession then economic boom years, where advertising and communications technology rapidly accelerated the pace of modern life. To counter this materialism, some composers offered a return to spiritual values, and others resorted to overtly political music.However, the music in this concert blurs the line between public life and private yearning. The final works by two great friends, Britten and Shostakovich, present autobiographical themes while acknowledging the social and political pressures that come to bear on individual lives. In his Four Original Versions of the ‘Night-time retreat in Madrid’ Berio puts his own stamp on a piece about city life.

The two friends after a concert of Britten's works in Moscow, December 1966, © Novosti / Lebrecht

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Berio – Quattro Versioni Originali della ‘Ritirata notturna di Madrid’ (1975)Berio’s devotion to the classics is reflected in a series of inspired arrangements, realisations and reconstructions of music by Schubert, Purcell, Falla, Verdi, Mahler, Puccini, Weill and the Italian Rococo composer Luigi Boccherini. The Quattro Versioni Originali della ‘Ritirata notturna di Madrid’ (‘Four Original Versions of the “Night-time Retreat in Madrid”’) takes as its basis the finale of Boccherini’s 1780 string quintet, which depicts Madrid’s midnight curfew as the city watch approaches and then marches away into the distance.

Listening GuideDescribed as ‘superimposed & transcribed for orchestra’, Berio’s take on the Ritirata notturna di Madrid depicts the coming and going of the night watch by means of a simple crescendo (a gradual increase in volume) and a diminuendo in the opposite direction. Quite apart from working his distinctive magic on this six-minute processional, Berio superimposes simultaneously the four distinct instrumentations Boccherini made in order to create an intoxicating collage of sound.

Britten – Suite from Death in Venice (1973) arr. Steuart Bedford)(i) Summons to Venice – (ii) Overture to Venice – (iii) First Beach Scene – (iv) Tadzio – (v) I love you – (vi) Pursuit – (vii) Second Beach Scene and Death

Thomas Mann’s semi-autobiographical novella Death in Venice haunted Britten for many years before he invited his long-term collaborator Myfanwy Piper to develop a libretto for what

would turn out to be the last of his 16 operas. It tells of an ageing German writer’s trip to Venice, where he discovers a Polish boy (Tadzio) of exquisite beauty with whom he becomes infatuated but to whom he never speaks. His obsession intensifies as he gradually falls victim to a cholera epidemic. The central character, Aschenbach, was the last major role Britten created for his beloved partner, Peter Pears. The central themes of a fascination that dares not speak its name and an all-pervading sense of death possess an almost purgative feel, so closely attuned are they to Britten’s own proclivities and fears. At the time he was moving increasingly towards more austere and refined soundworlds (much like his close friend Dmitri Shostakovich), and was worried that his creative gift was becoming stifled by a more objective aesthetic. Like the story itself, the resulting score offers a captivating fusion of cathartic self-revelation and tantalising restraint. Listening Guide

The idea that Steuart Bedford create an orchestral suite from Death in Venice came originally from Peter Pears. Britten was by now too ill to take on such a project and Bedford knew the score better than almost anyone as he had conducted the world premiere and taken it on tour. Ten years later an inspired symphonic précis of the opera emerged, focused on the work’s dance-like episodes for Tadzio’s Polish family. Cast in seven continuous sections, Summons to Venice encapsulates briefly Aschenbach’s curiously unsettling anticipation of his journey, while the Overture introduces a number of prime elements of the score, most notably the bells of St. Mark’s. As

Programme notes

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Benjamin Britten conducting in June 1976 © Erich Auerbach / Getty Images

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Aschenbach watches the boys play on the beach (iii), the sound of the vibraphone symbolises his first sighting of Tadzio (iv), who throws him a winning smile which instantly melts the writer’s heart (v), causing him to pursue him through the streets of Venice (vi). Life quietly slips away from the ageing Aschenbach as he watches the children play for the final time (vii).

‘I believe in roots, in associations, in backgrounds, in personal relationships. I want my music to be of use to people, to please them, to enhance their lives.’(Benjamin Britten, 1964)

Shostakovich speaking at a congress of the USSR Composers Union in Moscow, 1970 © Novosti / Topfoto

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‘If they cut off both hands, I will compose music anyway holding the pen in my teeth.’(Dmitri Shostakovich, 1936)

Shostakovich – Symphony No.15, Op.141 (1971)(i) Allegretto(ii) Adagio – Largo – Adagio – Allegretto –(iii) Allegretto(iv) Adagio – Allegretto – Adagio – Allegretto

Following Stalin’s death in 1953 there was a gradual thawing of state control over the arts. The last time Shostakovich was officially censured by the authorities was in 1962 for his Symphony No.13, whose condemnation of Soviet anti-Semitism, to words by Yevtushenko, Communist leader Khrushchev found a little too close for comfort. Yet privately, Shostakovich remained an embittered man. After his wife passed away in 1954, his music had become increasingly preoccupied with death. In his String Quartet No.8 (1960) he pulverised into submission his musical monogram D–S–C–H (transliterated into German musical nomenclature D–E flat–C–B) and afterwards contemplated suicide. Having survived a heart attack in 1966, Shostakovich produced increasingly introverted works, as exemplified by the suffocatingly claustrophobic Symphony No.14 (dedicated to Britten) and Symphony No.15's deeply unsettling lurches between the apparently carefree and the macabre. It is a profoundly autobiographical work, on occasion appearing to carry the weight of the Soviet machine on its shoulders, and demonstrating a waspish sense of irony. The music is laced throughout with allusions to Shostakovich’s earlier scores, alongside quotations from Glinka, Mahler and, most unmistakably, Rossini’s William Tell Overture and Wagner’s Tristan und Isolde.

Listening Guide

Shostakovich imagined the opening movement as a toy store at night in which the toys all spring to life as soon as the shopkeeper leaves. Yet far from Schumann-like reminiscences of childhood, what follows is a gleeful pot-pourri of musical cross-referencing, book-ended uniquely by the sound of the solo triangle. In fact the expanded percussion section – timpani, triangle, snare drum, tamtam, bass drum, gong, woodblock, castanets, tom-tom, cymbals, glockenspiel, xylophone, vibraphone, celesta and whip – plays an unusually important role throughout the symphony. The surreal juxtapositions continue with the Adagio slow movement, whose opening brass chorale from Shostakovich’s Symphony No.11 – which describes the tragic events of January 1905, when a demonstration by St Petersburg workers was brutally mown down by the militia – is offset by a cello quotation from Rossini’s William Tell. In the Scherzo, Shostakovich himself makes an appearance via his distinctive D–S–C–H motif, joining in the knockabout, sardonic humour with manic abandon, until the fun and games are halted by the Fate motif from Wagner’s Ring – three brass chords followed by a ‘heartbeat’ from the timpani. This is recalled at the very end when a ticking pulse – presumably Shostakovich’s own – gradually fades away to nothing.Programme notes by Julian Haylock

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Luciano Berio (1925–2003) One of the most celebrated of 20th-century composers, Luciano Berio said the role required him to be a ‘responsible child of society.’ Havng started out in the 1950s as one of the ‘wild boys’ of contemporary music – one particular concert caused such uproar that the riot police were called in – Berio found a way of working in a thoroughly modern idiom that didn’t leave mainstream audiences behind, most famously with his glitteringly inventive Sinfonia (1969), which Leonard Bernstein celebrated as signifying a new wave of optimism in the arts. Benjamin Britten (1913–1976)In addition to his prodigious achievements as a composer, Britten was a highly gifted pianist, conductor and arranger. He was also a natural recording artist, capable of exciting the same sense of electricity in the studio as in his live concerts. At a time when English musical opinion was polarised by an all-consuming passion for the symphony, string quartet and piano sonata, Britten broke the mould by focusing on choral music, song and opera. A child prodigy, his astonishingly assured Variations on a Theme of Frank Bridge for strings (1937) announced the arrival of a major new force in British music. Having enjoyed phenomenal success with his groundbreaking opera Peter Grimes, in 1948 Britten founded a festival at what would become his actual and spiritual home: Aldeburgh on the Suffolk coast. His later work moved progressively towards the dark side of the human psyche, climaxing in his final opera, the unbearably poignant Death in Venice (1973).

Dmitri Shostakovich (1906–1975)Shostakovich started out as the golden boy of Soviet music. His exuberantly inventive Symphony No.1 (1926) announced the arrival of a composer ideally equipped to extol the virtues of life under the new regime (the Russian royal family had been slaughtered by Bolshevik revolutionaries as recently as 1918). Yet within no time he found himself in trouble with Stalin’s thought-police, whose job it was to stamp out any music that failed to inspire feelings of pride and patriotism for the motherland. He received his first official warnings for his 1930 operatic fantasy The Nose and its blood-curdling follow-up Lady Macbeth of the Mtsensk District (1936), denounced officially in the press as a ‘bedlam of noise which suffocates itself in an orgy of depravity.’ The remainder of his output carried the scars of political intervention as he walked a continual musical tightrope between freedom of expression and personal survival.

Composer biographies by Julian Haylock

COMPOSER BIOGRAPHIES

Berio in Milan, 1966 © Auerbach / Getty Images

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Enjoyed tonight’s concert and wondering where to go from here?

Try these suggestions:

Recordings:

Berio’s ‘Quattro Versioni Originali della ‘Ritirata notturna di Madrid’ London Symphony Orchestra perform this piece alongside Berio’s Rendering – a dextrous ‘restoration’ of Schubert’s unfinished tenth symphony – and his Concerto for Piano No.2, Echoing Curves. The composer himself picks up the baton for this recording. (BGM)

Britten’s Suite from Death in Venice arr. Steuart BedfordSteuart Bedford’s arrangement of Britten’s opera was more ambitious than the commission he was originally given by Britten’s partner Peter Pears. In this recording, he conducts the English Chamber Orchestra. (Chandos)

Reading:

Benjamin Britten: A Life in the Twentieth Century – Paul Kildea (Allen Lane; 2013)This biography of Britten by conductor and former director of the Aldeburgh Music Festival Paul Kildea offers insight into both his life and music. Charting the career of Britain’s best-known modern composer, this compelling account assesses his compositions and covers everything from his sexuality to his finances.

Shostakovich: A Life Remembered – Elizabeth Wilson (Faber & Faber; 2006)A former student of Shostakovich’s friend and muse, the cellist Mstislav Rostropovich, Elizabeth Wilson recalls the composer’s life through the reminiscences of his contemporaries in this informative biography.

Britten in Pictures – Lucy Walker (Boydell Press, 2012)This photographic compilation uses rare and previously unpublished pictures to bring Britten’s world to life. Capturing Britten’s private life on the Suffolk coast, Lucy Walker’s selection of images also takes in records of opera sets, costume designs and the composer’s letters to his partner Peter Pears.

Films:

Moonrise Kingdom - Wes AndersonWes Anderson’s gloriously whimsical picaresque was inspired by the filmmaker’s experience of taking part in Britten’s opera Noye's Fludde as a child. The soundtrack packs in plenty of music by Britten, from The Young Person’s Guide to the Orchestra to Songs from Friday Afternoons.

The War Symphonies: Shostakovich Against Stalin - Larry WeinsteinThis documentary explores the composer’s attempts to produce great creative works in the context of Stalin’s brutal regime. Focusing on the composition of his symphonies, from the fourth to the ninth, it includes a wealth of contemporary footage.

Where next?

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Vasily Petrenko Vasily Petrenko was appointed Principal Conductor of the Royal Liverpool Philharmonic Orchestra in 2006; in 2009 he became Chief Conductor. He is Principal Conductor of the National Youth Orchestra of Great Britain and Chief Conductor of the Oslo Philharmonic. In 2012 he was appointed Principal Guest Conductor of the Mikhailovsky Theatre in St Petersburg, his native city. He has toured with the European Union Youth Orchestra and made guest appearances with major orchestras worldwide. He made his BBC Proms debut with the Royal Liverpool Philharmonic Orchestra in 2008, returning in 2010 and 2012. Plans this season and beyond include tours with the Royal Liverpool Philharmonic, Oslo Philharmonic and Russian National Orchestras, returns to the Chicago Symphony, Los Angeles

Philharmonic and San Francisco Symphony Orchestras, and debuts with the WDR Sinfonieorchester Cologne and Zurich Opera. Recordings with the Royal Liverpool Philharmonic Orchestra include Tchaikovsky’s Manfred Symphony (2009 Classic FM/Gramophone Orchestral Recording of the Year); and Rachmaninov’s second and third symphonies (which won him Germany’s 2012 ECHO Klassik Music Award for Emerging Artist of the Year), Symphonic Dances and complete Piano Concertos. The recording of Shostakovich’s Symphony No.10, part of an ongoing symphony cycle, was the 2011 Gramophone Orchestral Recording of the Year. He was the Classic BRIT Awards Male Artist of the Year 2010 and 2012 and the Classic FM/Gramophone Awards Young Artist of the Year 2007.

BIOGRAPHIES

Vasily Petrenko © Mark McNulty

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Royal Liverpool Philharmonic OrchestraThe award-winning Royal Liverpool Philharmonic Orchestra is the UK’s oldest surviving professional symphony orchestra, its origins dating from 1840. During the last seven years, it has built a global reputation for excellence under the leadership of Vasily Petrenko, who took up the baton as Principal Conductor in September 2006; in September 2009 he became Chief Conductor. The Orchestra gives over sixty concerts each season in its home, Liverpool Philharmonic Hall, and in recent seasons world premiere performances have included major works by Sir Peter Maxwell Davies, Sir John Tavener, Karl Jenkins, Michael Nyman and Jennifer Higdon, alongside works by Liverpool-born composers including John McCabe, Kenneth Hesketh, Emily Howard, Stephen Pratt and Mark Simpson. Collaborations with international artists from rock, pop and roots music include Sir Paul McCartney, Elvis Costello, Liverpool electronica group Orchestral Manoeuvres in the Dark, and West African kora player Toumani Diabaté. The Orchestra is increasingly playing for Liverpool on the world stage, and performs widely throughout the UK and internationally, most recently touring to China, Switzerland, France, Luxembourg, Spain, Germany, Romania and the Czech Republic. Recent additions to the Orchestra's critically acclaimed recording catalogue include Tchaikovsky's Manfred Symphony (2009 Gramophone Awards Orchestral Recording of the Year), the world premiere performance of Sir John Taverner's Requiem, an ongoing Shostakovich cycle (the recording of Symphony No.10 is the

2011 Gramophone Awards Orchestral Recording of the Year); Rachmaninov's Second and Third Symphonies, Symphonic Dances and complete Piano Concertos with Simon Trpčeski. Flagship learning programmes include the annual schools’ concert series, reaching more than 24,000 children; and In Harmony Liverpool, an intensive, daily music-making programme for children in West Everton, established in April 2009 as the West Everton Children’s Orchestra. The Orchestra is now in the twelfth year of its award-winning media partnership with Classic FM, which has successfully built new audiences for classical music in Liverpool. The Orchestra and its new music group Ensemble 10/10 were joint winners of the Ensemble of the Year award at the 2009 Royal Philharmonic Society Music Awards. Ensemble 10/10 also won the Concert Series of the Year award. As well as the Orchestra, Liverpool Philharmonic includes the Royal Liverpool Philharmonic Choir, the new music group Ensemble 10/10, chamber music, Liverpool Philharmonic Youth Orchestra, Liverpool Philharmonic Youth Choir, Training Choir and Melody Makers; and delivers an extensive learning programme in community settings throughout Liverpool. It also runs the Grade II* listed Liverpool Philharmonic Hall, one of the UK’s premier arts and entertainment venues, presenting a wide-ranging programme of international artists.

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Royal Liverpool Philharmonic Orchestra and Chief Conductor Vasily Petrenko © Mark McNulty

Royal Liverpool Philharmonic Orchestra and Chief Conductor Vasily Petrenko © Mark McNulty

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Chief Conductor Vasily Petrenko

Conductor LaureateLibor Pešek KBE

ChorusmasterIan Tracey

First ViolinsThelma Handy joint leaderMiranda PlayfairVictoria SaylesLesley GwytherMartin RichardsonConcettina Del VecchioAlexander MarksJohn HebbronDavid WhiteheadStephan MayerSusanna JordanElizabeth LambertonPaula MuldoonWendy De St Paer

Second ViolinsKatharine RichardsonDania AlzapiediSophie ColesKate MarsdenMartin Anthony BurrageJames HuttonJustin EvansNicola GleedDavid RimbaultJames PattinsonAnn LawesChristina Knox

ViolasCatherine MarwoodKate LeekRobert ShepleyDavid RubyRichard WallaceFiona StundenRebecca WaltersRachel JonesSarah HillIan Fair

CellosJonathan AasgaardHilary BrowningIan BrackenGethyn JonesStephen MannAlexander HolladayMark LindleySimon Denton

Double BassesMarcel BeckerDamian Rubido GonzalezAshley FramptonNigel DuftyDaniel HammertonAnthony Williams

FlutesCormac HenryFiona Fulton

Piccolo Janet Richardson

OboesJonathan SmallRuth Davies

Cor AnglaisWilliam Oinn

ClarinetsThomas VerityMandy Burvill

Bass ClarinetMarianne Rawles

BassoonsAlan PendleburyRebekah Abramski

ContrabassoonGareth Twigg

HornsTimothy JacksonSimon Griffiths David PigottTimothy NicholsonSam Yates

TrumpetsRhys OwensPaul MarsdenBrendan BallPeter Mainwaring

Tenor TrombonesSimon CowenSimon Powell

Bass TromboneSimon Chappell

TubaRobin Haggart

TimpaniNeil Hitt

PercussionJosephine FriezeHenry BaldwinJenny MarsdenEdward CervenkaBen Gray

Harp Eleanor Hudson

Piano & CelesteIan Buckle

ORCHESTRA LIST

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Gabriela Montero © Timothy Cochrane

International Piano Series2013/14

CÉDRIC TIBERGHIENWednesday 30 October 2013

ANDREW ZOLINSKY*Sunday 10 November 2013

BORIS GILTBURGThursday 14 November 2013

CRISTINA ORTIZWednesday 27 November 2013

TILL FELLNERTuesday 10 December 2013

BORIS BEREZOVSKYTuesday 14 January 2014

MARTIN HELMCHENTuesday 28 January 2014

PAUL LEWISTuesday 4 February 2014

MAURIZIO POLLINITuesday 18 February 2014

YUNDITuesday 25 February 2014

NELSON FREIRESunday 2 March 2014

GABRIELA MONTEROWednesday 5 March 2014

INGOLF WUNDERThursday 20 March 2014

CRISTINA ORTIZ Masterclass Sunday 23 March 2014

MAURIZIO POLLINIWednesday 2 April 2014

FEDERICO COLLITuesday 22 April 2014

SERGIO TIEMPOTuesday 29 April 2014

NIKOLAI LUGANSKYWednesday 14 May 2014

KHATIA BUNIATISHVILIWednesday 4 June 2014

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* Part of The Rest Is Noise, Southbank Centre’s festival based on Alex Ross’ book

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WelcomeWe hope you enjoy your visit to Southbank Centre, the world’s most inspiring centre for the arts.

Southbank Centre’s story started with the 1951 Festival of Britain, which made participation in the arts a joyous reality. With 21.5 million visitors from all parts of the world every year, our site is now the focus of cultural life in London.

Throughout the year, we create festivals that combine world-class artists with wholehearted engagement by people of all ages and backgrounds:

• in February, Imagine children’s festival is packed with shows and activities. • in March, we showcase the Women of the World with gigs and talks. • in April, we investigate the South Asian culture and its relationship with the UK at Alchemy. • in May, we gather the best authors in the world for the annual London Literature Festival. • from May to September we celebrate our summer festival with MasterCard. • in June we invite a guest artist to curate their fantasy fortnight of music in Meltdown. • from November to January we celebrate our Winter Festival.

Major artists call Southbank Centre their home. Our four Resident Orchestras are the Philharmonia Orchestra, London Philharmonic Orchestra, Orchestra of the Age of Enlightenment and London Sinfonietta. Artists-in-Residence include conductor Marin Alsop, poet Simon Armitage and folk super-group Bellowhead.

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Gabriela Montero © Timothy Cochrane

International Piano Series2013/14

CÉDRIC TIBERGHIENWednesday 30 October 2013

ANDREW ZOLINSKY*Sunday 10 November 2013

BORIS GILTBURGThursday 14 November 2013

CRISTINA ORTIZWednesday 27 November 2013

TILL FELLNERTuesday 10 December 2013

BORIS BEREZOVSKYTuesday 14 January 2014

MARTIN HELMCHENTuesday 28 January 2014

PAUL LEWISTuesday 4 February 2014

MAURIZIO POLLINITuesday 18 February 2014

YUNDITuesday 25 February 2014

NELSON FREIRESunday 2 March 2014

GABRIELA MONTEROWednesday 5 March 2014

INGOLF WUNDERThursday 20 March 2014

CRISTINA ORTIZ Masterclass Sunday 23 March 2014

MAURIZIO POLLINIWednesday 2 April 2014

FEDERICO COLLITuesday 22 April 2014

SERGIO TIEMPOTuesday 29 April 2014

NIKOLAI LUGANSKYWednesday 14 May 2014

KHATIA BUNIATISHVILIWednesday 4 June 2014

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* Part of The Rest Is Noise, Southbank Centre’s festival based on Alex Ross’ book

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Southbank Centre would like to thank the following companies, trusts, foundations and individuals for their valuable support:

Rick Haythornthwaite

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Esa-Pekka Salonen © Karen Robinson

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Join Us… and get priority booking for our renowned classical music season plus so much more.

experience more with Membership• Priority booking for Southbank Centre events.• Members Bar with fantastic views of London.

get closer with Supporters Circles• Privileged booking with access to tickets

for sold-out concerts.• Exclusive events like rehearsals, receptions and opportunities to meet performers.

see all the benefits onlinesouthbankcentre.co.uk/joinus

Southbank Centre is a registered charity no. 298909

Esa-Pekka Salonen © Karen Robinson

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the soundtrack of the 20th century

100 concerts 150 talks and films

12 weekendsThroughout 2013

January 1900 HERE COMES THE 20TH CENTURY a new century, a new world

February 1910 THE RISE OF NATIONALISM folk roots and new nations discovering national identity through folk songs

1920 PARIS shock, glamour and experiments

march 1930 BERLIN IN THE ‘20S and ‘30S cabaret, paranoia and fascism

AMERICA a new world discovers its voice

May 1940 THE ART OF FEAR Music of oppression and war

September 1950 BRITTEN’S CENTENARY Best of Britten

october POST-WAR WORLD Breaking with the past

1960 1960s counterculture and revolution

november 1970 POLITICS AND SPIRITUALITY Behind the Iron curtain

1980 SUPERPOWER hollywood, Minimalism and musical theatre

December 1990 NEW WORLD ORDER no more rules

Inspired by Alex Ross’ book The Rest Is Noise

southbankcentre.co.uk/therestisnoise

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