21 october lpo programme notes

Principal Conductor VLADIMIR JUROWSKI*Principal Guest Conductor YANNICK NÉZET-SÉGUINLeader pIETER SChOEMANComposer in Residence JULIAN ANDERSONPatron hRh ThE DUKE OF KENT KG

Chief Executive and Artistic Director TIMOThY WALKER AM†

pROGRAMME £3

CONTENTS 2 Southbank Centre / Leader 3 List of players4 About the Orchestra5 Jukka-Pekka Saraste 6 Thomas Zehetmair7 Programme notes 10 Future concerts 11 Supporters 12 LPO administration The timings shown are not precise and

are given only as a guide.

* supported by the Tsukanov Family † supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

JTI FRIDAY SERIES SOUThBANK CENTRE’S ROYAL FESTIVAL hALLFriday 21 October 2011 | 7.30pm

JUKKA-pEKKA SARASTEconductor

ThOMAS ZEhETMAIRviolin

SIBELIUSThe Dryad, Op. 45 No. 1 (5’)

BEEThOVENViolin Concerto in D major, Op. 61 (42’)

Interval

BRAhMSSymphony No. 2 in D major, Op. 73 (39’)

LPO prog 21 Oct 2011.indd 1 10/17/2011 11:30:18 AM

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, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery.

If you wish to get in touch with us following your visit please contact Kenelm Robert, our Head of Customer Relations, at Southbank Centre, Belvedere Road, London SE1 8XX or phone 020 7960 4250 or 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 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.

WELCOME

2 | London Philharmonic Orchestra

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Pieter Schoeman joined the London Philharmonic Orchestra as Co-Leader in 2002, and was appointed Leader in 2008.

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 performed frequently as Guest Leader with the symphony orchestras of Barcelona, Bordeaux, Lyon and Baltimore, as well as with the BBC Symphony Orchestra.

Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance.

pIETER SChOEMANLEADER

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, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery.

If you wish to get in touch with us following your visit please contact Kenelm Robert, our Head of Customer Relations, at Southbank Centre, Belvedere Road, London SE1 8XX or phone 020 7960 4250 or 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 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.

WELCOME


First ViolinsPieter Schoeman* LeaderVesselin Gellev Sub-Leader

Chair supported by

John and Angela Kessler

Xuan DuShlomy DobrinskyKatalin VarnagyCatherine CraigTina GruenbergMartin Höhmann

Chair supported by

Richard Karl Goeltz

Geoffrey LynnRobert PoolYang ZhangRebecca ShorrockPeter NallGalina Tanney

Second ViolinsClare Duckworth Principal

Chair supported by

the Sharp Family

Joseph MaherKate Birchall

Chair supported by David

and Victoria Graham Fuller

Fiona HighamAshley StevensMaire-Anne MairesseImogen WilliamsonSioni WilliamsStephen StewartMila MustakovaElizabeth BaldeyStephen Dinwoodie

ViolasVicci Wardman

Guest PrincipalRobert DuncanKatharine LeekBenedetto PollaniLaura VallejoSusanne MartensEmmanuella Reiter-

BootimanDaniel CornfordNaomi HoltIsabel Perreira

CellosMoray Welsh

Guest PrincipalFrancis BucknallLaura DonoghueSantiago Carvalho†Jonathan Ayling

Chair supported by Caroline,

Jamie and Zander Sharp

Gregory WalmsleySusanna RiddellTom Roff

Double BassesKevin Rundell* PrincipalTim Gibbs Co-PrincipalLaurence LovelleGeorge PenistonRichard LewisKenneth Knussen

FlutesSusan Thomas PrincipalSarah Bennington

piccoloStewart McIlwham*

Principal

OboesIan Hardwick PrincipalAngela Tennick

ClarinetsRobert Hill* Principal James BurkePaul Richards

BassoonsRachel Gough

Guest PrincipalSimon Estell

hornsJohn Ryan PrincipalMartin HobbsMark Vines Co-PrincipalGareth MollisonDuncan Fuller

TrumpetsPaul Beniston* PrincipalAnne McAneney*

Chair supported by

Geoff and Meg Mann

John MacDomnic

TrombonesMark Templeton* PrincipalDavid Whitehouse

Bass TromboneLyndon Meredith Principal

TubaLee Tsarmaklis* Principal

TimpaniSimon Carrington*

Principal

percussionAndrew Barclay* Principal

Chair supported by

Andrew Davenport

Keith Millar

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

LONDON phILhARMONIC ORChESTRA

London Philharmonic Orchestra | 3

Chair Supporters

The London Philharmonic Orchestra also acknowledges the following chair supporters whose player is not present at this concert:

Julian & Gill Simmonds


LONDON phILhARMONIC ORChESTRA


The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most adventurous and forward-looking orchestras. As well as performing classical concerts, the Orchestra also records film and computer game soundtracks, has its own record label, and reaches thousands of Londoners every year through activities for schools and local communities.

The Orchestra was founded by Sir Thomas Beecham in 1932, and since then has been headed by many of the great names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Russian Vladimir Jurowski, appointed in 2007, with French-Canadian Yannick Nézet-Séguin as Principal Guest Conductor.

The Orchestra is based at Royal Festival Hall in London’s Southbank Centre, where it has performed since it opened in 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. Concert highlights in 2011/12 include a three-week festival celebrating the music of Prokofiev, concerts with artists including Sir Mark Elder, Marin Alsop, Renée Fleming, Stephen Hough and Joshua Bell, and several premières of works by living composers including the Orchestra’s Composer in Residence, Julian Anderson. In addition to its London concerts, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency accompanying the famous Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra since 1964.

The London Philharmonic Orchestra 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 big part of the Orchestra’s life: tours in the 2011/12 season include visits to Belgium, Switzerland, Germany, the US, Spain, China, Russia, Oman, Brazil and France.

You may well have heard the London Philharmonic Orchestra on film soundtrack recordings: it has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, Philadelphia and East is East. The Orchestra also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 50 releases on the label, which are available on CD and to download. Recent additions include Dvořák’s Symphonic Variations and Symphony No. 8 conducted by Sir Charles Mackerras; Holst’s The Planets conducted by Vladimir Jurowski; Mahler’s Symphony No. 8 under Klaus Tennstedt; Shostakovich Piano Concertos with Martin Helmchen under Vladimir Jurowski; and Sibelius’s Symphony No. 5, Pohjola’s Daughter and Lutosławski’s Concerto for Orchestra under Jukka-Pekka Saraste. The Orchestra was also recently honoured with the commission to record all 205 of the world’s national anthems for the London 2012 Olympics Team Welcome Ceremonies and Medal Ceremonies.

To help maintain its high standards and diverse workload, the Orchestra is committed to the welfare of its musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark.

The London Philharmonic Orchestra maintains an energetic programme of activities for young people and local communities. Highlights include the ever-popular family and schools concerts, fusion ensemble The Band, the Leverhulme Young Composers project and the Foyle Future Firsts orchestral training scheme for outstanding young players. Over the last few years, developments in technology and social networks have 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, news blog, iPhone app and regular podcasts, the Orchestra has a thriving presence on Facebook and Twitter.

Find out more and get involved!

lpo.org.uk

facebook.com/londonphilharmonicorchestra

twitter.com/LpOrchestra



JUKKA-pEKKA SARASTECONDUCTOR

Jukka-Pekka Saraste’s extensive discography includes the complete symphonies of Sibelius and Nielsen with the Finnish Radio Symphony Orchestra, as well as works by Bartók, Henri Dutilleux, Mussorgsky and Prokofiev with the Toronto Symphony Orchestra. In 2008 he launched the Oslo Philharmonic Orchestra’s DVD recording career conducting Sibelius’s Symphonies Nos. 1 and 5. His recent CD recordings of Mahler’s Symphony No. 6 with the Oslo Philharmonic Orchestra and Symphony No. 9 with the Cologne Radio Symphony Orchestra have received widespread acclaim.

Jukka-Pekka Saraste has established himself as one of the outstanding conductors of his generation, demonstrating remarkable musical depth and integrity. Born in Lahti, Finland in 1956,

he began his career as a violinist before training as a conductor with Jorma Panula at the Sibelius Academy in Helsinki. Actively seeking to bring the music of Finnish composers such as Kaija Saariaho, Magnus Lindberg and Esa-Pekka Salonen to greater prominence in the international concert repertoire, Saraste also has a special affinity with the sound and style of late Romantic music.

At the beginning of the 2010/11 season, Saraste became Chief Conductor of the Cologne Radio (WDR) Symphony Orchestra. Since August 2006 he has also held the post of Chief Conductor of the Oslo Philharmonic Orchestra. His previous positions include Principal Conductorships of the Finnish Radio Symphony Orchestra (1987–2001) and Toronto Symphony Orchestra (1994–2001), as well as Principal Guest Conductor of the BBC Symphony Orchestra (2002–2005). He was also Artistic Advisor of the Lahti Symphony Orchestra and founded the Finnish Chamber Orchestra’s annual Tammisaari Festival.

Saraste’s engagements have included the major North American orchestras, the Philharmonia, Royal Concertgebouw, Rotterdam Philharmonic, Cologne Radio (WDR) Symphony, Bavarian Radio Symphony, Munich Philharmonic, Vienna Symphony and Swedish Radio Symphony orchestras, as well as the Orchestra Filarmonica della Scala and the Orchestre Philharmonique de Radio France. At the 2005 Salzburg Festival he conducted the Dresden Staatskapelle, and in 2009 he toured all the European musical capitals with the Oslo Philharmonic Orchestra and violinist Anne-Sophie Mutter. During the 2010/11 season he presided over a highly successful production of Puccini’s Turandot at the Royal Danish Opera. He recently conducted the first work of the opening-night programme at Helsinki’s new concert hall.

New on the LPO label

SiBELiUSSymphony no. 5pohJoLA’S dAUghtEr LUtoSŁAwSkiconcErto for orchEStrAJukka-Pekka Saraste conductor

LPO-0057

Supported by the Adam Mickiewicz Institute as part of the Polska Music grant programme

Available from lpo.org.uk/shop, all good CD outlets and the Royal Festival Hall shop.Downloads available from iTunes, Amazon, eMusic and classicsonline.com.



Thomas Zehetmair enjoys a worldwide reputation as a violinist as well as a conductor and chamber musician. His international conducting career is now driven by two positions in particular: Music Director of

Northern Sinfonia in the UK and Artistic Partner of the Saint Paul Chamber Orchestra in Minnesota, USA. Concert tours with Northern Sinfonia have taken him to the Hong Kong Festival, the Netherlands, Scandinavia and Germany. With Northern Sinfonia Thomas Zehetmair has made several recordings for Avie Records: Brahms’s Violin Concerto and Schumann’s Symphony No. 4 with Zehetmair as both soloist and conductor, a disc of Sibelius’s Symphonies Nos. 3 and 6 and Stravinsky’s Violin Concerto, as well as a recording of Schubert’s Symphony No. 6 and Gál’s Symphony No. 1, released in April 2011.

Thomas Zehetmair has recorded extensively, and many of his CDs have received prestigious awards. His latest releases include Bernd Alois Zimmermann’s Violin Concerto with the WDR Symphony Orchestra under Heinz Holliger (which received the Diapason d’Or de l’Année), the 24 Caprices by Paganini (German Record Critics’ Award, Midem Classic Award 2010), Elgar’s Violin Concerto with the Hallé under Mark Elder (Gramophone Award 2010) as well as Mozart’s violin concertos with the Orchestra of the Eighteenth Century under Frans Brüggen. Most recently, in March 2011, ECM released a CD entitled Manto and Madrigals on which Thomas Zehetmair and his duo partner Ruth Killius explore modern repertoire for violin and viola.

Since the beginning of the 2010/11 season Thomas Zehetmair has held the position of Artistic Partner of the Saint Paul Chamber Orchestra. Recently he has been appointed Principal Conductor and Artistic Advisor by the Orchestre de Chambre de Paris from the 2012/13 season. He also appears regularly as guest conductor with orchestras such as the Ensemble Orchestral de Paris, Camerata Salzburg, Hungarian National Orchestra, and the Bamberg Symphony, Warsaw Philharmonic and Rotterdam Philharmonic orchestras.

One of the highlights of the 2011/12 season is Thomas Zehetmair’s debut as conductor at the Salzburg Festival, where he will also perform with the Zehetmair Quartet, which he founded in 1994. The season also sees concerts with the Bavarian and Finnish Radio Symphony orchestras, Orchestre National de Lyon and Konzerthausorchester Berlin, as well as a tour of Spain with the Ensemble Orchestral de Paris. As violinist he will appear at many of Europe’s most renowned venues such as the Vienna Konzerthaus and the Munich Philharmonie.

In 2005, Thomas Zehetmair was honoured with the German Record Critics’ Award for his versatile work as soloist, conductor and chamber musician. In 2007 he was awarded the Karl-Böhm Interpretation Award by the state of Styria, Austria, during a ceremony at Graz Castle.

Thomas Zehetmair holds an honorary doctorate from the Franz Liszt College of Music in Weimar, Germany.

ThOMAS ZEhETMAIRVIOLIN

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pROGRAMME NOTES

Three giants of the European symphonic tradition provide the music in tonight’s programme, though only one of them with a symphony. Sibelius, one of the great 20th-century masters of the genre, is represented instead by a rarity, his short and impressionistic tone-poem The Dryad.

Of all Beethoven’s concertos, the one for violin shows him at his most serene, embracing a spacious lyricism that never takes second place to showy virtuosity. And Brahms’s Second Symphony was speedily written in the period of joyous creative release that followed the First, his long-awaited engagement with the Beethovenian inheritance.

Speedread

Among Sibelius’s tone-poems The Dryad, barely five minutes long, is one of the more rarely heard in concert. Composed in 1910, the same year as the Fourth Symphony, its opening pages suggest that it will share something of that work’s dark, spare atmosphere, but the various disjointed motifs and figures eventually coalesce into a longer waltz-like theme, and at one point there is even the surprising and enlivening presence of castanets. A dryad is a tree nymph in Greek mythology, and there is perhaps a sense of playfulness and of the freedom of a life lived amidst nature in the changeable tempos, shifting colours and fleeting

phrases of this piece, which one Finnish writer has described as ‘like a leaf quivering briskly in the woods’. Undoubtedly it is a Sibelian curiosity, an experiment maybe in impressionistic nature-painting that could almost make one think that Sibelius was attempting his own concise and highly personal response to the Debussy of La mer and Images. Indeed, one might even mischievously link the sun-dappled Classical world it finally evokes to that of Ravel’s Daphnis and Chloé, were it not for the fact that this little piece predates the completion of that work by two years.

JeanSIBELIUS

1865–1957

ThE DRYAD, Op. 45 NO. 1



For Beethoven, the concerto was not a form to be taken lightly. Like Mozart, the first great Classical master of the genre, he composed concertos principally for his own instrument, the piano; but whereas Mozart’s output of piano concertos ran to nearly 30, Beethoven completed only five, each of them a dynamic and virtuosic conflict between soloist and orchestra. Compared to these dramas, his only completed violin concerto is a very different animal, a work of unprecedented warmth and serenity that its first audiences evidently found rather puzzling. ‘The opinion of connoisseurs admits that it contains beautiful passages, but confesses that the context often seems broken and that the endless repetition of unimportant passages produces a tiring effect’, ran one account of its first performance in Vienna in December 1806. Clearly, a little more action was expected, although the circumstances of the première sound like they may not have helped: Beethoven had rushed to complete the piece in time and the soloist, Franz Clement, was apparently forced to sight-read much of it at the concert. Clement himself, meanwhile, no doubt failed to show the concerto to best advantage by playing the second and third movements at the opposite end of the evening from the first, and inserting some virtuoso showpieces in between.

Although Beethoven knew how to play the violin, it was not really his instrument, so we should not be too surprised that his concerto does not adopt the confrontational and virtuoso tone of the piano concertos. And unlike the piano, the violin cannot accompany itself, with the result that the orchestra has to play along almost all of the time. Beethoven does not fight against this. Instead he turns it to advantage by writing a supremely conciliatory concerto in which the violin and orchestra are in agreement throughout, and as the great 20th-century Beethoven commentator

Donald Tovey said, ‘all its most famous strokes of genius are not only mysteriously quiet, but mysterious in radiantly happy surroundings.’ This is certainly true of the work’s unusual opening, where five gentle drum beats introduce the sublime first theme, and then proceed to dominate and unify the whole movement through repeating and recycling their insistent rhythm in different contexts. There is no menace in this (as well there could have been), and when the solo violin first enters it is not to contradict the orchestra, or even to contribute any new themes of its own, but to enrich the music with soaring embellishments and eloquent refinements of the movement’s glorious melodic material.

This non-aggressive attitude is even more noticeable in the placid slow movement, which seems to start out as a straightforward set of variations on the theme introduced right at the beginning on muted strings – so straightforward, indeed, that the music never leaves the key of G major and the solo violin at first offers no more than gentle accompanimental arabesques. After the third variation, however (a loud restatement of the theme by the orchestra alone), the soloist introduces a brief but sonorous new tune, which is then alternated with the main theme before a peaceful coda, a fanfare-like outburst from the strings and a short cadenza lead straight into the finale. Here again, the form is simple – a rondo whose uncomplicated treatment may owe much to Beethoven’s haste to complete the concerto, but whose recurring theme is irresistible nevertheless. And there is real originality in the way in which the movement opens with the theme given out by the soloist over a bare, prompting accompaniment from the cellos and basses, and in the way that, just when you feel Beethoven has proved that he could carry on forever, he wittily brings the concerto to an end.

pROGRAMME NOTES

INTERVAL – 20 minutes. An announcement will be made five minutes before the end of the interval.

VIOLIN CONCERTO IN D MAJOR, Op. 61Original cadenzas of the piano version by Beethoven, transcription for violin by Wolfgang Schneiderhan

ThOMAS ZEhETMAIR violin

Allegro ma non troppoLarghetto –Rondo: Allegro

Ludwig van BEEThOVEN 1770–1827



If evidence were needed of the rewards of confronting life’s obstacles, Brahms’s Second Symphony provides it. Brahms took the best part of two decades to compose his First Symphony, finally producing it at the age of 43 after years of reluctance to enter a field so dominated by the intimidating legacy of Beethoven. ‘You have no idea how it feels to hear that giant marching behind me’, he once wrote to a friend. That First Symphony seemed to embody something of Brahms’s hard-won victory in its typically Beethovenian journey from darkness to light (famously, it was dubbed ‘Beethoven’s Tenth’), yet within a year of finally clearing the symphonic path, Brahms had composed his Second Symphony, taking just a few months over it during the summer of 1877, and finding in it a relaxed, almost pastoral atmosphere that speaks of anything but creative struggle.

The prevailing mood of the work is unmistakably sunny, yet this is far from being the whole story. Unlike the First, it both begins and ends in light, but while Brahms was undoubtedly overstating the case when he told friends that he ‘had never written anything so sad’ and that it would have to be printed ‘on black-edged paper’, his teases are not without justification. The Second is never tragic, but in its first two movements it offers music of profound melancholy, occasionally darkening to the elegiac.

Such feelings are not evident as the symphony begins, its gentle triple-time and smooth melodic contours seeming to offer a world of unalloyed pastoral contentment, but it is not long before a quiet drum roll and some troubled chords from the trombones and tuba cloud the air; though the sun appears to return,

especially in a broad second theme that seems to be related to Brahms’s famous Wiegenlied (or ‘Lullaby’), the mood is never quite the same again. The command of emotional tone is masterful in this movement, but Brahms’s technical control is no less impressive; the three-note figure outlined by the cellos and basses in the very first bar reappears in many guises to be a crucial thematic unifier throughout the work.

The second movement reaches depths of feeling as great as in any of Brahms’s works, its falling theme announced at the outset by cellos and rising counter-melody on bassoons setting the mood for an Adagio of rich complexity and sustained passion. There is awe, perhaps even a hint of terror, in the fortissimo outburst towards the end, but the movement has a settled, if sombre, close.

The trumpets, trombone and tuba fall silent in the Allegretto, and the mood lightens for a rustic serenade in which a sedately piping main theme appears three times, interleaved with faster variations of itself. The finale opens quietly but with barely concealed excitement, and indeed the joy cannot be contained for long, bursting free within 20 bars. Rarely, if ever, did Brahms show such rampant exuberance, yet even here his intellect maintains its grip; the generous theme of the second melody returns late on almost as a chant, albeit one whose syncopations impart an air of expectancy, before it is let loose and transformed again to power the music to a brilliant finish.

Programme notes © Lindsay Kemp

SYMphONY NO. 2 IN D MAJOR, Op. 73

Allegro non troppoAdagio non troppoAllegretto grazioso (Quasi Andantino)Allegro con spirito

JohannesBRAhMS 1833–1897



TO BOOKTickets £9–£39 | Premium seats £65

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FUTURE CONCERTS

Wednesday 26 October 2011 | 7:30pm

Chopin Piano Concerto No. 2Shostakovich Symphony No. 8

Jaap van Zweden conductorMaria João pires piano

‘Pires’s playing was unostentatious but commanding, controlled yet free-flying in its sensitivity to the fluidityof Chopin’s lines.’ The Guardian

Jaap van Zweden and Maria João Pires

Friday 28 October 2011 | 7:30pm JTI Friday Series

R Strauss Don JuanMozart Piano Concerto No. 23, K488 Rachmaninoff Symphonic Dances

James Gaffigan conductorpaul Lewis piano

‘Lewis’s attention to colour and texture gave his interpretation not only authority but also drew the listener onto another plane. It was not easy to come back.’ The Guardian

Wednesday 2 November 2011 | 7:30pm

Brahms Double Concerto for violin and celloBruckner Symphony No. 7

Christoph Eschenbach conductorNicola Benedetti violinLeonard Elschenbroich cello

Wednesday 16 November 2011 | 7:30pm

Tchaikovsky Violin ConcertoBruckner Symphony No. 4

Osmo Vänskä conductor Janine Jansen violin

Friday 25 November 2011 | 7:30pm JTI Friday Series

Antonio José Suite, The Muleteer Rodrigo Concierto de Aranjuez Falla Suites Nos. 1 and 2, The Three-Cornered Hat Mussorgsky (orch. Ravel) Pictures at an Exhibition

Eduardo portal conductor Craig Ogden guitar

Paul Lewis

Nicola Benedetti and Leonard Elschenbroich



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

Trusts and FoundationsArts and BusinessAllianz Cultural FoundationThe Boltini TrustBritten-Pears FoundationThe Candide Charitable TrustThe Coutts Charitable TrustThe Delius TrustDunard FundThe Equitable Charitable TrustThe Eranda FoundationThe Fenton Arts TrustThe Foyle FoundationThe Jeniffer and Jonathan Harris Charitable TrustHattori Foundation for Music and the ArtsCapital Radio’s Help a London ChildThe Hobson CharityThe Kirby Laing FoundationThe Leverhulme TrustLord and Lady Lurgan TrustMaurice Marks Charitable TrustMarsh Christian Trust

The Mercers’ CompanyAdam Mickiewicz InstitutePaul Morgan Charitable TrustMaxwell Morrison Charitable TrustMusicians Benevolent FundNewcomen Collett Foundation The Serge Prokofiev FoundationSerge Rachmaninoff FoundationThe Reed FoundationThe Seary Charitable TrustThe Samuel Sebba Charitable TrustThe David Solomons Charitable TrustThe Steel Charitable TrustThe Stansfield TrustThe Bernard Sunley Charitable FoundationThe Swan TrustJohn Thaw FoundationThe Thistle TrustThe Underwood TrustGarfield Weston FoundationYouth Music

and others who wish to remain anonymous

Thomas Beecham GroupThe Tsukanov Family

The Sharp FamilyJulian & Gill Simmonds

Garf & Gill CollinsAndrew DavenportDavid & Victoria Graham FullerRichard Karl GoeltzJohn & Angela KesslerMr & Mrs MakharinskyGeoff & Meg MannCaroline, Jamie and Zander SharpEric Tomsett

Mrs Sonja Drexler Guy & Utti Whittaker

principal BenefactorsMark & Elizabeth AdamsJane AttiasLady Jane BerrillDesmond & Ruth CecilMr John H CookMr Charles Dumas

David EllenCommander Vincent EvansMr & Mrs Jeffrey HerrmannPeter MacDonald EggersMr & Mrs David MalpasAndrew T MillsMr Maxwell MorrisonMr Michael PosenMr & Mrs Thierry SciardMr John Soderquist & Mr Costas MichaelidesMr & Mrs G SteinMr & Mrs John C TuckerMr & Mrs John & Susi UnderwoodHoward & Sheelagh WatsonMr Laurie Watt

BenefactorsMrs A BeareDr & Mrs Alan Carrington CBE FRSMr & Mrs Stewart CohenMr Alistair CorbettMr David EdgecombeMr Richard FernyhoughKen Follett

Pauline & Peter HallidayMichael & Christine HenryMr Glenn HurstfieldMr R K JehaMr Gerald LevinSheila Ashley LewisWg. Cdr. & Mrs M T Liddiard OBE JP RAFMr Frank LimPaul & Brigitta LockMr Brian MarshJohn MontgomeryEdmund PirouetMr Peter TausigMrs Kazue TurnerLady Marina VaizeyMr D Whitelock Bill Yoe

hon. BenefactorElliott Bernerd

hon. Life MembersKenneth GoodeEdmund Pirouet Mrs Jackie Rosenfeld OBE

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

Corporate MembersAppleyard & Trew llpAREVA UKBritish American BusinessCharles RussellDestination Québec – UKLazardLeventis OverseasMan Group plc

Corporate DonorLombard Street Research

In-kind SponsorsGoogle IncHeinekenThe Langham LondonLindt & Sprüngli LtdSela / Tilley’s SweetsVilla Maria


ADMINISTRATION


Board of Directors

Martin Höhmann ChairStewart McIlwham Vice-ChairSue BohlingLord Currie*Jonathan Dawson*Gareth NewmanGeorge PenistonSir Bernard Rix*Kevin RundellSir Philip Thomas*Timothy Walker AM†*Non-Executive Directors

The London philharmonic Trust

Victoria Sharp ChairDesmond Cecil CMGJonathan Harris CBE FRICSDr Catherine C. HøgelMartin HöhmannAngela KesslerClive Marks OBE FCAJulian SimmondsTimothy Walker AM†Laurence Watt

American Friends of the London philharmonic Orchestra, Inc.

We are very grateful to the Board of the American Friends of the London Philharmonic Orchestra for its support of the Orchestra’s activities in the USA.

professional Services

Charles RussellSolicitors

Crowe Clark Whitehill LLPAuditors

Dr Louise MillerHonorary Doctor

General Administration

Timothy Walker AM† Chief Executive and Artistic Director

Alison AtkinsonDigital Projects Manager

Finance

David BurkeGeneral Manager andFinance Director

David GreensladeFinance and IT Manager

Concert Management

Roanna GibsonConcerts Director

Ruth SansomArtistic Administrator

Graham WoodConcerts, Recordings andGlyndebourne Manager

Alison JonesConcerts Co-ordinator

Jenny ChadwickTours and Engagements Manager

Jo OrrPA to the Executive / Concerts Assistant

Matthew FreemanRecordings Consultant

Education & Community

Patrick BaileyEducation and Community Director

Anne FindlayEducation Manager

Caz ValeCommunity and Young Talent Manager

Richard MallettEducation and Community Producer

Orchestra personnel

Andrew CheneryOrchestra Personnel Manager

Sarah ThomasLibrarian

Michael PattisonStage Manager

Julia BoonAssistant Orchestra Personnel Manager

Ken Graham TruckingInstrument Transportation(Tel: 01737 373305)

Development

Nick JackmanDevelopment Director

Harriet MesherCharitable Giving Manager

Alexandra RowlandsCorporate Relations Manager

Melissa Van EmdenEvents Manager

Laura LuckhurstCorporate Relations and Events Officer

Elisenda AyatsDevelopment and Finance Officer

Marketing

Kath TroutMarketing Director

Ellie DragonettiMarketing Manager

Rachel FryerPublications Manager

Helen BoddyMarketing Co-ordinator

Samantha KendallBox Office Manager(Tel: 020 7840 4242)

Lucy Martin Intern

Valerie BarberPress Consultant(Tel: 020 7586 8560)

Archives

Philip StuartDiscographer

Gillian PoleRecordings Archive

London philharmonic Orchestra89 Albert Embankment London SE1 7TPTel: 020 7840 4200Fax: 020 7840 4201Box Office: 020 7840 4242lpo.org.uk

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

Photographs of Sibelius, Beethoven and Brahms courtesy of the Royal College of Music, London Front cover photograph © Benjamin Ealovega.

Printed by Cantate. †Supported by Macquarie Group


21 october lpo programme notes

Documents

southbank centre shops

southbank centre leader

southbank centrewe

capella hall

london se1

moscows rachmaninov

los angeles

south africa