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London Philharmonic Orchestra at Brighton Dome, 28 March 2015, concert programme

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  • lpo.org.uk

    Brighton Dome Concert programme

  • Winner of the 2013 RPS Music Award for Ensemble

    Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI*Leader PIEtER SchOEMAnComposer in Residence MAgnUS LInDbERgPatron hRh thE DUKE OF KEnt KgChief Executive and Artistic Director tIMOthY WALKER AM

    Programme 2.50

    contents

    2 Welcome3 On stage 4 About the Orchestra5 Leader: Pieter Schoeman6 Jaime Martn7 Andreas Brantelid8 Programme notes12 Orchestra news 2014/15 Eastbourne Appeal13 2015/16 Brighton season14 Supporters15 Sound Futures donors16 LPO administration

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

    * supported by the Tsukanov Family Foundation supported by Neil Westreich

    CONCERTS PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH BRIGHTON DOME AND EASTBOURNE BOROUGH COUNCIL

    brighton Dome concert hallSaturday 28 March 2015 | 7.30pm

    congress theatre, Eastbourne Sunday 29 March 2015 | 3.00pm

    tchaikovsky Romeo and Juliet (Fantasy Overture) (21)

    Elgar Cello Concerto in E minor, Op. 85 (26)

    Interval

    Rimsky-Korsakov Scheherazade, Op. 35 (47)

    Jaime Martn conductor

    Andreas brantelidcello

  • 2 | London Philharmonic Orchestra

    Saturday 28 March 2015 Sunday 29 March 2015

    Welcome to brighton Domechief Executive Andrew Comben

    We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following:

    LAtEcOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks.

    SMOKIng Brighton Dome is a no-smoking venue.

    IntERVAL DRInKS may be ordered in advance at the bar to avoid queues.

    PhOtOgRAPhY is not allowed in the auditorium.

    REcORDIng is not allowed in the auditorium.

    MObILES, PAgERS AnD WAtchES should be switched off before entering the auditorium.

    Thank you for your co-operation.

    The concert at Brighton Dome on 28 March 2015 is presented by the London Philharmonic Orchestra with assistance from Brighton Dome.

    Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England.

    Brighton Dome is managed by Brighton Dome and Brighton Festival, which also runs the annual three-week Brighton Festival in May.

    brightondome.org brightonfestival.org

    Welcome to the congress theatre, EastbourneArtistic Director Chris Jordan general Manager Gavin Davis

    Welcome to this afternoons performance by the London Philharmonic Orchestra. We hope you enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones and watch alarms are switched off during the performance. Thank you.

    We are delighted and proud to have the London Philharmonic Orchestra reside at the Congress Theatre for the 18th year. Thank you, our audience, for continuing to support the concert series. Without you, these concerts would not be possible.

    We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email theatres@eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

  • London Philharmonic Orchestra | 3

    On stage

    chair Supporters

    The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at these concerts: Sonja Drexler; Eric Tomsett; Simon Robey

    First ViolinsPieter Schoeman* Leader

    Chair supported by Neil Westreich

    Vesselin Gellev Sub-Leader

    Ilyoung ChaeChair supported by an anonymous donor

    Catherine CraigMartin HhmannGeoffrey Lynn

    Chair supported by Caroline, Jamie & Zander Sharp

    Sarah StreatfeildRebecca ShorrockGalina TanneyRobert YeomansCaroline SharpNilufar AlimaksumovaRobert Pool**Thomas Eisner**

    Second ViolinsNicole Wilson

    Guest PrincipalJoseph MaherKate Birchall

    Chair supported by David & Victoria Graham Fuller

    Nancy ElanFiona HighamNynke HijlkemaAshley StevensFloortje GerritsenSioni WilliamsGavin DaviesJohn Dickinson**Elizabeth Baldey**

    ViolasCyrille Mercier PrincipalRobert DuncanBenedetto PollaniLaura VallejoNaomi HoltIsabel PereiraMartin FennRichard CooksonSusanne Martens**Sarah Malcolm**

    cellosKristina Blaumane

    Principal Chair supported by

    Bianca and Stuart Roden

    Francis BucknallSantiago CarvalhoDavid LaleElisabeth WiklanderHelen RathboneSibylle Hentschel**George Hoult**

    Double bassesTim Gibbs PrincipalLaurence LovelleGeorge PenistonTom WalleyKenneth Knussen**Helen Rowlands**

    trombonesMark Templeton* Principal

    Chair supported by William & Alex de Winton

    David Whitehouse

    bass tromboneLyndon Meredith Principal

    tubaDavid Kendall

    timpaniSimon Carrington* Principal

    PercussionAndrew Barclay* Principal

    Chair supported by Andrew Davenport

    Keith MillarIgnacio MolinsSarah MasonScott Lumsdaine

    harpRachel Masters* Principal

    * Holds a professorial appointment in London

    Chevalier of the Brazilian Order of Rio Branco

    ** 28 March only

    Meet our members: lpo.org.uk/players

    FlutesSue Thomas* Principal

    Chair supported by Victoria Robey OBE

    Hannah Grayson

    PiccolosStewart McIlwham*

    PrincipalHannah Grayson

    OboesIan Hardwick* PrincipalJenny Brittlebank

    cor AnglaisSue Bhling* Principal

    clarinetsRobert Hill* PrincipalThomas Watmough

    bassoonsGareth Newman PrincipalEmma Harding

    hornsMark Vines Principal Martin HobbsDuncan FullerGareth MollisonTimothy Ball

    trumpetsPaul Beniston* PrincipalAnne McAneney*

    Chair supported by Geoff & Meg Mann

    Nicholas Betts Co-Principal

  • 4 | London Philharmonic Orchestra

    London Philharmonic Orchestra

    The London Philharmonic Orchestra is one of the worlds finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking ensembles in the UK. 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 worlds greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestras Principal Conductor and Artistic Advisor, appointed in 2007. From September 2015 Andrs Orozco-Estrada will take up the position of Principal Guest Conductor. Magnus Lindberg is the Orchestras current Composer in Residence.

    The Orchestra is based at Southbank Centres Royal Festival Hall in London, where it has performed since the Halls opening in 1951 and been Resident Orchestra since 1992. It gives around 30 concerts there each season with many of the worlds top conductors and

    soloists. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long The Rest Is Noise festival, charting the influential works of the 20th century. 2014/15 highlights include a season-long festival, Rachmaninoff: Inside Out, exploring the composers major orchestral masterpieces; premieres of works by Harrison Birtwistle, Julian Anderson, Colin Matthews, James Horner and the Orchestras new Composer in Residence, Magnus Lindberg; and appearances by many of todays most sought-after artists including Maria Joo Pires, Christoph Eschenbach, Yannick Nzet-Sguin, Osmo Vnsk, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labque and Robin Ticciati.

    Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer it 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.

    Full marks to the London Philharmonic for continuing to offer the most adventurous concerts in London.The Financial Times, 14 April 2014

  • London Philharmonic Orchestra | 5

    Touring remains a large part of the Orchestras life: highlights of the 2014/15 season include appearances across Europe (including Iceland) and tours to the USA (West and East Coasts), Canada and China.

    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 80 releases available on CD and to download. Recent additions include organ works by Poulenc and Saint-Sans with Yannick Nzet-Sguin; Strausss Don Juan and Ein Heldenleben with Bernard Haitink; Shostakovichs Symphonies Nos. 6 & 14 and Zemlinskys A Florentine Tragedy with Vladimir Jurowski; and Orffs Carmina Burana with Hans Graf. In summer 2012 the London Philharmonic Orchestra performed as part of The Queens Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the worlds 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 on Facebook and Twitter.

    Find out more and get involved!

    lpo.org.uk

    facebook.com/londonphilharmonicorchestra

    twitter.com/LPOrchestra

    youtube.com/londonphilharmonic7

    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, Moscows Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centres Queen Elizabeth Hall in London. As a chamber musician he regularly performs at Londons prestigious Wigmore Hall.

    As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Prts Double Concerto with Boris Garlitsky, Brahmss Double Concerto with Kristina Blaumane, and Brittens Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestras 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. Pieters chair in the London Philharmonic Orchestra is supported by Neil Westreich.

  • 6 | London Philharmonic Orchestra

    acclaim. Solo recordings include Mozart concertos with Sir Neville Marriner, a premiere recording of the Sinfonietta Concerto for Flute and Orchestra written for him by Xavier Montsalvatge and conducted by Gianandrea Noseda, Bach works for flute, violin, and piano with violinist Murray Perahia and the Academy of St Martin in the Fields for Sony, and Mozarts Flute Quartet for EMI, amongst others.

    Born in Santander, Spain, Jaime studied with Antonio Arias in Madrid and later with Paul Verhey in The Hague, Holland.

    facebook.com/jaime.martin.1675

    Jaime Martnconductor

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    Jaime Martn has risen quickly to international acclaim as a conductor in recent years, following his prominent career as a flautist. He was appointed Artistic Director and Principal Conductor of Gvle Symphony Orchestra in September 2013 and, more recently, has been designated the Principal Guest Conductor of the Orquesta Sinfnica de Castilla y Len. He is also Chief Conductor of the Orquestra de Cadaqus and Artistic Director of the Santander International Festival.

    As a guest conductor he has worked with international orchestras including Orchestre Philharmonique de Radio France, Royal Liverpool Philharmonic, Barcelona Symphony, Royal Scottish National, and St Paul Chamber orchestras, and Academy of St Martn in the Fields. Future guest engagements include return to visits to the Orquestra Sinfonica do Estado de Sao Paulo, Swedish Radio, Winterthur Orchestra and his debuts with New Zealand Symphony Orchestra and the Northern Sinfonia.

    Jaime made his operatic debut conducting The Magic Flute at El Escorial Madrid and San Sebastian Festival in August 2012. He made his debut with English National Opera in February 2013 conducting The Barber of Seville and returned in autumn last year to conduct The Marriage of Figaro.

    Jaimes recordings include Schuberts Symphony No. 9 and Beethovens Symphony No. 3 Eroica, with the Orquestra de Cadaqus, and a CD of works by Granados, Garreta, Taltabull and Lamote de Grigno with the Barcelona Symphony Orchestra. All his recordings as conductor are on the Trit label and received critical

    Jaime Martns detailed performance took on heady swagger, and his infectious enjoyment of the music communicated to the orchestra and audience alike.

    John Allison, The Telegraph, December 2014

  • London Philharmonic Orchestra | 7

    Andreas Brantelid was born in Copenhagen in 1987 to Swedish/Danish parents. He started playing the cello from a very early age, studying with his father Ingemar. He made his concerto debut at the age of 14 with the Royal Danish Orchestra playing the Elgar Cello Concerto. Since then he has appeared as a soloist with all the major orchestras in Scandinavia.

    This season he will make his debut with the MDR Leipzig Orchestras as well as returning to the BBC National Orchestra of Wales. He will also make his debut in Japan, performing a solo recital as well as concerto performances with the Yomiuri Nippon Symphony Orchestra.

    Last season, Andreas made his debut with the Seattle and Milwaukee Symphony orchestras and also performed at the Konzerthaus in Vienna with the Danish National Chamber Orchestra. Other recent concerto performances include his debut with the Mahler Chamber Orchestra and Pablo Heras-Casado performing Dutilleuxs Tout un Monde Lointain and concerts with the Tonhalle, Vienna Symphony, Hamburg Symphony, Brussels Philharmonic and City of Birmingham Symphony orchestras. He has worked with many distinguished conductors including Philippe Herreweghe, Andrew Manze, Sakari Oramo, Jukka-Pekka Saraste and Robin Ticciati.

    Andreass recital and chamber appearances during this season include Seoul, Berlin, Paris, Dresden and the Dortmund Konzerthaus, where he is a Junge Wilde artist. He has previously performed in New York (Carnegie Hall and Alice Tully), London (Wigmore Hall), Chicago, Zurich, Vancouver, Barcelona and Salzburg. Andreas very much enjoys collaborating with other

    Andreas Brantelidcello

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    musicians and has played at many important festivals including Jerusalem, Schleswig-Holstein, Bergen, Lockenhaus, Kuhmo, Verbier and the City of London.

    His debut concerto disc of the Tchaikovsky, Schumann and Saint-Sans cello concertos with the Danish National Symphony Orchestra was released by EMI in 2008. This was followed by a disc of chamber music by Chopin including his Cello Sonata (2010) and an Encore disc (2012). A disc of the complete works for cello and piano by Grieg will be released by BIS this year.

    Andreas won First Prize in the Eurovision Young Musicians Competition (2006) and the Paulo International Cello Competition (2007). He was a Borletti-Buitoni Trust Fellowship winner in 2008. He was also recently a member of the Lincoln Centre Chamber Music Society in New York and the BBCs New Generation Artist scheme.

    He plays the Boni-Hegar Stradivarius from 1707, kindly lent to him by the Norwegian Art Collector Christen Sveaas.

    This weekends performances of Elgars Cello Concerto mark his debut with the London Philharmonic Orchestra.

    andreasbrantelid.com

    Read an interview with String Visions where Andreas reveals how he didnt always listen to his dads teaching advice.stringvisions.ovationpress.com/2012/06/andreas-brantelid-interview

    Andreas Brantelid displayed complete technical mastery. He played the Beethoven Concerto with elegance of style and phrasing and in the Paganini Concerto, he gave an exceptional display of controlled violin playing.

    The Strad

  • 8 | London Philharmonic Orchestra

    Programme notes

    Tchaikovsky and Rimsky-Korsakov use the full range of orchestral colours to conjure tales of high romance and profound tragedy. In Romeo and Juliet, Tchaikovsky tapped a story of impossible love to mirror his own frustrations in matters of the heart. Rimsky-Korsakovs even more vivid Scheherazade evokes the tableaux of One Thousand and One Nights, describing the moment when the eponymous

    Sultanas storytelling skills quell her husbands lust for murder. Between these two dazzling Russian works, Elgars Cello Concerto, completed in 1919, responds thoughtfully to the time in which it was written. Turning away from the passionate lyricism of his earlier Violin Concerto, the celebrated Englishman composed music for an uncertain world.

    Speedread

    Tchaikovsky was no stranger to disillusionment. A homosexual, living within a highly patriarchal and judgmental society, he channelled his frustrations into a sequence of works about impossible love, beginning with his Fantasy Overture Romeo and Juliet in 1869 (subsequently revised) and continuing with his ballet Swan Lake, his opera Eugene Onegin and the fatalistic Fourth, Fifth and Sixth Symphonies. While he attempted to marry in the late 1870s to shut the mouths of assorted contemptible creatures whose opinions mean nothing to me, but who are in a position to cause distress to those near to me, as he wrote to his gay brother Modest the union was a failure.

    No less doomed was the relationship of Romeo Montague and Juliet Capulet, the star-crossd lovers who take their life in William Shakespeares great tragedy. The idea of a tone poem on the subject was originally suggested by Balakirev, who likewise

    advised the young Tchaikovsky to draw three separate elements from the drama, namely the solemn Friar Laurence (whose potions have fatal consequences), the sword-fighting Montagues and Capulets and the eponymous lovers. Tchaikovsky brilliantly combines the first two in the development section of his sonata-form piece, before crowning the work with an outspoken declamation of the famous lovers theme.

    Romeo and Juliet (Fantasy Overture)Pyotr Ilyichtchaikovsky

    184093

  • London Philharmonic Orchestra | 9

    cello concerto in E minor Op. 85

    Andreas brantelid cello

    1 Adagio Moderato2 Lento Allegro molto3 Adagio4 Allegro Moderato Allegro ma non troppo Poco pi lento Adagio

    EdwardElgar

    18571934

    On 24 May 1919, Henry Cope Colles, chief music critic of The Times and editor of the third and fourth editions of Groves Dictionary of Music and Musicians, wrote at length about three new chamber works by Edward Elgar, all of which had recently been premiered at Wigmore Hall. Elgars music, he opined, is always autobiographical; but the life is not completed; it is the present which one looks for most eagerly in his latest work, and not the past. What has he to say now, and have the years stamped their meaning on him in any profound way? The answer was to be found in Elgars next work: his Cello Concerto.

    Its predecessor, the Violin Concerto, first performed by Fritz Kreisler under the composer at the Queens

    Hall on 10 November 1910, had been one of Elgars most successful works. Passionate and brave, the Concerto, as Elgars friend William Henry Reed recalled, proved to be a complete triumph, the concert a brilliant and unforgettable occasion. But by 1919, when Elgar began its successor, the years had indeed stamped their meaning on him in a profound way. Europe was just beginning to stagger to its feet after the worst war ever witnessed. Understandably, Elgar had been equivocal about the conflict, which had caused his depression to flare up and his health to worsen. All of this coloured Elgars music and, rather than returning to the mood of his Violin Concerto, he created a particularly anguished work for cello and orchestra. Sadly, at least at its premiere on 27 October 1919, the piece perplexed more than it inspired.

    The cello opens the Concerto with a series of broad chords and a pensive melodic fragment, which is picked up by the clarinet. Silence follows before the cello utters a question (inverting the works initial gestures), duly answered by a new melody in the strings. This meanders, almost absent-mindedly, before being repeated, in a bruised and melancholy manner, by the cello. A second section provides more animated music and yet, while the cello turns towards the major mood, wistfulness remains. Only after the opening chords are stated again, pizzicato, does a new temper emerge. This skittish second movement, full of semiquavers, is at once joyful and nervous.

    Elgar with Beatrice Harrison, who gave the first performance of the Cello Concerto outside of London and made the first recording.

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  • 10 | London Philharmonic Orchestra

    Programme notes continued

    The Adagio recalls the Concertos initial question. Here the nostalgia seems less restive, though the key of B flat major places this elegiac movement at a tritonal remove from the prevailing tonic of E minor. This is a backward glance, as in the Orpheus myth, to bygone contentment (with echoes of the Violin Concerto, the Second Symphony and The Music Makers). At first, the finale clings to the Adagios tenuous tonality, before returning, via a harmonic sleight of hand, to E minor. What ensues is a determined attempt to live in the present, underlined by the musics resolute marking. But nothing is so simple and this last movement is as conflicted as its predecessors, swinging between tempos, metres and keys. There is outright joy here too, but also sadness, not least in the painful Lento section towards the end, which Elgar caps with a brusque summation of the initial chords and the rushing music of the Finale.

    Elgars original score

    Interval 20 minutesA bell will be rung a few minutes before the end of the interval.

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    The Elgar Birthplace Museum Exploring the life and music of Englands great composer

    Set in the beautiful countryside of

    Worcestershire is the museum

    dedicated to the life and times of

    Englands great composer,

    Sir Edward Elgar.

    1 Free Entry to the Museum with this programme when

    accompanied by a full paying adult

    Lower Broadheath, Worcester

    tel. 01905 333224

    birthplace@elgarmuseum.org

    Open every day

    11am - 5pm

    Recommended recordings of todays works

    tchaikovsky: Romeo and JulietSt Petersburg Philharmonic / Vladimir Ashkenazy [Decca]

    Elgar: cello concertoJacqueline du Pr / London Symphony Orchestra / Sir John Barbirolli [Warner/EMI]

    Rimsky-Korsakov: Scheherazade London Philharmonic Orchestra / Mariss Jansons[EMI Classics]

  • London Philharmonic Orchestra | 11

    Scheherazade, Op. 35

    1 The Sea and Sinbads Ship2 The Kalendar Prince3 The Young Prince and the Young Princess4 Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman

    NikolaiRimsky-Korsakov

    18441908

    Orientalism was big business during the final decades of the 19th century. World fairs introduced new clothes and customs to culturally voracious Westerners and, as shipping lines opened, not least the Suez Canal in 1869, access increased. The Russians had their own intoxicating brand of Orientalism, though even they admitted that an Empire straddling both Europe and Asia could not entirely consider the Middle and Far East as other. Nonetheless, there are numerous examples of exotic tropes in their music, such as Borodins In Central Asia, the Arabian Dance in Tchaikovskys The Nutcracker and Rimsky-Korsakovs Scheherazade.

    Drawing on tales from One Thousand and One Nights, the collection of West and South Asian folk tales compiled in Arabic during the Middle Ages, this seminal symphonic poem was composed in 1888, shortly after Rimsky-Korsakov had finished work on the completion and orchestration of Borodins mammoth Prince Igor. Rimsky-Korsakov decided that his new work, Scheherazade, would recall rather than refer directly to events from One Thousand and One Nights. All I desired, he later wrote in his autobiography, was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairy-tale wonders and not merely four pieces played one after the other and composed on the basis of themes common to all the four movements.

    The work begins with a glowering fanfare, describing Sultan Schariar. Rimsky-Korsakov wrote that the Sultan vowed to put to death each of his wives after the first nuptial night. But the Sultana Scheherazade saved her life by entertaining her lord with fascinating tales. After a passage indebted to Mendelssohns A Midsummer Nights Dream, we hear Scheherazades own beguiling motif, played by a solo violin and harp. There follows

    a steady but sweeping barcarolle describing The Sea and Sinbads Ship of her first tale. The melody, full of chromatic inflections, develops freely over the course of the ensuing sections, in which Scheherazades storytelling theme is also a prominent feature.

    The second movement heralds another story, introduced once more by the Sultana. She recites a fakirs tale of a young prince who dressed up as a wandering pauper, enduring hardships in his search for wisdom. Various instruments pick up his travelling tune before being interrupted by more ominous forces (with premonitions of the evil Kachtche in Stravinskys The Firebird). The third movement, on the other hand, is a heartfelt romance, evoking a prince, represented by a string melody, and his love for a princess, who is described in the dancing middle section. Although the two are initially separated, they eventually come together, as the movement closes contentedly with both themes.

    As in many four-part symphonies, the Finale offers a grand summation of the preceding movements. Particularly prominent is the juxtaposition of the Sultans booming bass motif and Scheherazades storytelling theme. To save her life, she offers a dazzling conflation of three episodes from One Thousand and One Nights, featuring the humming bazaars of Baghdad and a particularly violent seascape. Ultimately, Scheherazades charms overwhelm the Sultans murderous intentions and the work closes with her theme and a final iteration of the Mendelssohn-like chords.

    Programme notes Gavin Plumley

  • 12 | London Philharmonic Orchestra

    Orchestra news

    new season 2015/16

    We are delighted to announce the launch of our 2015/16 season at Brighton Dome. Highlights include appearances by the new Music Director of Glyndebourne Festival Opera, Robin Ticciati, who presents an evening of French music on 14 November, newly appointed LPO Principal Guest Conductor, Andrs Orozco-Estrada, returns to Brighton on 27 February, and international classical guitar phenomenon, Milo Karadagli joins us on 16 April with a rare performance of Castelnuovo-Tedescos intoxicating Guitar Concerto No. 1.

    As part of the worldwide Shakespeare anniversary celebrations of 2016, we are presenting a series of works inspired by the Bard in both our London and Brighton seasons, including Strausss Macbeth on 27 February and excerpts from Prokofievs Romeo and Juliet on 16 April.

    Pick up a brochure on your way out of the concert at Brighton Dome, or visit www.lpo.org.uk for more information.

    The Eastbourne 2015/16 season will be announced on Sunday 12 April. lpo.org.uk/whats-on-and-tickets

    next LPO label release

    The LPO recordings catalogue continues to grow apace. Our next release is Bruckners mighty Symphony No. 3, performed by the Orchestra under the renowned Bruckner specialist, Stanisaw Skrowaczewski. Recorded live at Royal Festival Hall in March last year, according to one reviewer, Skrowaczewski gave it a distinctive and personal interpretation that was clearly the result of a lifetimes experience with the music. The CD (LPO-0084) will be available from 30 March priced 9.99, and can be bought or downloaded at: lpo.org.uk/recordings

    London Philharmonic Orchestra 2014/15 Eastbourne Appeal

    With two concerts remaining of the London Philharmonic Orchestras 2014/15 season at Eastbourne, it is with great anticipation that we welcome cellist Andreas Brantelid (todays soloist) and violinist Madalyn Parnas.

    Musicians like these will have been significantly influenced by their first experience of a live orchestral concert, and it is for this reason that the Orchestra performs live to over 16,000 school children each year through a series of specially designed daytime concerts that link to what they are learning at school.

    Our 2014/15 Eastbourne Appeal aims to secure further support towards these educational activities, ensuring that young people particularly those in under-resourced areas have the opportunity to access their first orchestral experience. There is a subsidy of 9 on each ticket and we hope to be able to offer over 550 young people the opportunity to attend a performance as a result of this Appeal.

    To date, your support through this appeal has been outstanding and we have almost reached our target. We are extremely grateful for the continued support of our Eastbourne audiences in reaching this point and hope you will consider making a contribution to enable us to achieve our goal.

    To donate please visit lpo.org.uk/eastbourneappeal or contact Helen Etheridge: 020 7840 4225 or helen.etheridge@lpo.org.uk

  • London Philharmonic Orchestra | 13

    Introducing the London Philharmonic Orchestras 2015/16 season at Brighton Dome. Tickets on sale now!

    Saturday 14 November | 7.30pmFaur Suite, Pellas et MlisandeRavel Piano Concerto in G majorRavel Valses nobles et sentimentalesDebussy La mer

    Robin Ticciati conductorLouis Schwizgebel piano

    Saturday 16 January | 7.30pmMozart Overture, Lucio SillaBrahms Piano Concerto No. 2Beethoven Symphony No. 7

    Adrian Prabava conductorStefan iri piano

    Saturday 27 February | 7.30pmR Strauss MacbethKhachaturian Violin ConcertoStravinsky Firebird Suite (1945 version)

    Andrs Orozco-Estrada conductorKristf Barti violin

    Saturday 16 April | 7.30pmde Falla The Three-cornered Hat (Suite No. 2)Castelnuovo-Tedesco Guitar Concerto No. 1Prokofiev Romeo and Juliet (excerpts)

    Jaime Martn conductorMilo Karadagli guitar

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    Martin Hhmann first violin Benjamin Ealovega

    Full season ad 2015.16.indd 1 19/03/2015 11:36:18

  • 14 | London Philharmonic Orchestra 14 | London Philharmonic Orchestra

    We would like to acknowledge the generous support of the following thomas beecham group Patrons, Principal benefactors and benefactors:

    thomas beecham group

    The Tsukanov Family Foundation

    Neil Westreich

    William and Alex de Winton Simon Robey Victoria Robey OBE Bianca & Stuart Roden Julian & Gill Simmonds*

    Anonymous Garf & Gill Collins*Andrew Davenport Mrs Sonja DrexlerDavid & Victoria Graham Fuller Mrs Philip Kan*Mr & Mrs MakharinskyGeoff & Meg MannCaroline, Jamie & Zander SharpEric Tomsett

    John & Manon Antoniazzi John & Angela Kessler Guy & Utti Whittaker

    * BrightSparks patrons. Instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools concerts.

    Principal benefactorsMark & Elizabeth AdamsDesmond & Ruth CecilMr John H CookDavid EllenMr Daniel Goldstein Drs Frank & Gek LimPeter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David MalpasMr Michael PosenMr & Mrs G SteinMr & Mrs John C TuckerMr & Mrs John & Susi Underwood Lady Marina Vaizey Laurence Watt Grenville & Krysia Williams Mr Anthony Yolland

    benefactorsMrs A Beare David & Patricia BuckMrs Alan CarringtonMr & Mrs Stewart CohenMr Alistair Corbett Georgy Djaparidze Mr David Edgecombe Mr Timothy Fancourt QCMr Richard FernyhoughTony & Susan Hayes Michael & Christine HenryMalcolm Herring J. Douglas HomeIvan Hurry

    Mr Glenn HurstfieldPer JonssonMr Gerald LevinWg. Cdr. & Mrs M T Liddiard OBE JP RAFPaul & Brigitta Lock Mr Peter MaceMs Ulrike Mansel Robert MarkwickMr Brian Marsh Andrew T MillsJohn Montgomery Dr Karen Morton Mr & Mrs Andrew Neill Tom & Phillis SharpeMartin and Cheryl Southgate Professor John StuddMr Peter TausigSimon Turner Howard & Sheelagh Watson Des & Maggie WhitelockChristopher WilliamsBill Yoe and others who wish to remain

    anonymous

    hon. benefactorElliott Bernerd

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

    the generosity of our Sponsors, corporate Members, supporters and donors is gratefully acknowledged:corporate Members

    Silver: Accenture AREVA UK BerenbergBritish American BusinessCarter-Ruck

    bronze: Appleyard & Trew LLP BTO Management Consulting AG Charles Russell SpeechlysLeventis Overseas

    Preferred Partners Corinthia Hotel London Heineken Lindt & Sprngli LtdSipsmith Steinway Villa Maria

    In-kind SponsorsGoogle IncSela / Tilleys Sweets

    trusts and Foundations Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust

    Borletti-Buitoni TrustBritten-Pears Foundation The Candide Trust The Peter Carr Charitable Trust, in memory

    of Peter CarrThe Ernest Cook TrustThe Coutts Charitable TrustThe DOyly Carte Charitable TrustDunard FundThe Equitable Charitable Trust Fidelio Charitable TrustThe Foyle FoundationLucille Graham TrustThe Jeniffer and Jonathan Harris

    Charitable TrustHelp Musicians UK The Hinrichsen Foundation The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leche Trust London Stock Exchange Group FoundationMarsh Christian TrustThe Mayor of Londons Fund for Young

    MusiciansAdam Mickiewicz Institute The Peter Minet TrustThe Ann and Frederick OBrien

    Charitable Trust

    Office for Cultural and Scientific Affairs ofthe Embassy of Spain in London

    Palazzetto Bru Zane Centre de musiqueromantique franaise

    The Austin and Hope Pilkington Trust Polish Cultural Institute in London PRS for Music FoundationThe Radcliffe TrustRivers Foundation The R K Charitable TrustRVW TrustSerge Rachmaninoff Foundation Romanian Cultural Institute Schroder Charity Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable TrustThe John Thaw FoundationThe Tillett Trust UK Friends of the Felix-Mendelssohn-

    Bartholdy-Foundation The Viney FamilyGarfield Weston FoundationThe Barbara Whatmore Charitable TrustYouth Music and others who wish to remain anonymous

  • London Philharmonic Orchestra | 15

    Sound FutureS donorS

    By May 2015 we aim to have raised 1 million which will be matched pound for pound by Arts Council England through a Catalyst Endowment grant. This will create a 2 million endowment fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre.

    We are grateful to the following donors for their generous contributions to our Sound Futures campaign. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

    Masur circleArts Council EnglandDunard Fund Victoria Robey OBE Emmanuel & Barrie RomanThe Underwood Trust

    Welser-Mst circleWilliam & Alex de WintonJohn Ireland Charitable Trust The Tsukanov Family FoundationNeil Westreich

    tennstedt circleRichard Buxton Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman

    Solti PatronsAgeas John & Manon Antoniazzi Georgy DjaparidzeMrs Mina Goodman and

    Miss Suzanne GoodmanMr James R D KornerRobert Markwick & Kasia RobinskiThe Rothschild Foundation

    haitink PatronsDr Christopher AldrenMark & Elizabeth AdamsMrs Pauline BaumgartnerLady Jane BerrillMr Edwin BissetMr Frederick BrittendenDavid & Yi Yao BuckleyMr Clive ButlerGill & Garf CollinsMr John H CookBruno de KegelMr Gavin Graham

    Moya GreeneMrs Dorothy HambletonTony and Susie HayesCatherine Hgel & Ben MardleMrs Philip Kan Rose and Dudley LeighLady Roslyn Marion LyonsMiss Jeanette MartinDuncan Matthews QCDiana and Allan Morgenthau

    Charitable TrustDr Karen MortonMr Roger Phillimore Ruth RattenburyThe Reed Foundation Sir Bernard RixDavid Ross and Line Forestier (Canada)Carolina & Martin SchwabTom and Phillis SharpeDr Brian SmithMr & Mrs G SteinDr Peter Stephenson Miss Anne StoddartTFS Loans LimitedLady Marina VaizeyMs Jenny WatsonGuy & Utti Whittaker

    Pritchard DonorsRalph and Elizabeth AldwinckleMichael and Linda BlackstoneConrad Blakey OBEDr Anthony BucklandBusiness Events SydneyLady June ChichesterJohn Childress & Christiane WuillamiePaul CollinsMr Alistair CorbettMr David DevonsMr David EdgecombeDavid Ellen

    Mr Timothy Fancourt QCKarima & David GMr Daniel GoldsteinMr Derek B GrayMr Roger GreenwoodMr J Douglas HomeHoneymead Arts TrustMrs Dawn HooperRehmet Kassim-LakhaMr Geoffrey KirkhamPeter LeaverWg Cdr & Mrs M T Liddiard OBE JP RAFDrs Frank & Gek LimPeter MaceMr David MacfarlaneGeoff & Meg MannDr David McGibneyMichael & Patricia McLaren-TurnerJohn MontgomeryRosemary MorganParis NatarMr & Mrs Andrew NeillMr Roger H C PattisonThe late Edmund PirouetMr Michael PosenSarah & John PriestlandMr Christopher QuereeMr Alan SainerTim SlorickLady Valerie SoltiTimothy Walker AMLaurence WattMr R WattsChristopher WilliamsPeter Wilson SmithVictoria YanakovaMr Anthony Yolland

    And all other donors who wish to remain anonymous

  • 16 | London Philharmonic Orchestra

    Administration

    board of DirectorsVictoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-PresidentDr Manon Antoniazzi Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. HgelMartin Hhmann* George Peniston* Kevin Rundell* Julian SimmondsMark Templeton*Natasha TsukanovaTimothy Walker AM Laurence WattNeil Westreich

    * Player-Director

    Advisory councilVictoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness ShackletonLord Sharman of Redlynch OBE Thomas Sharpe QC Martin SouthgateSir Philip Thomas Sir John TooleyChris VineyTimothy Walker AMElizabeth Winter

    American Friends of the London Philharmonic Orchestra, Inc.Jenny Ireland Co-ChairmanWilliam A. Kerr Co-ChairmanKyung-Wha ChungAlexandra JupinDr. Felisa B. KaplanJill Fine MainelliKristina McPhee Dr. Joseph MulvehillHarvey M. Spear, Esq.Danny Lopez Hon. ChairmanNoel Kilkenny Hon. DirectorVictoria Robey OBE Hon. DirectorRichard Gee, Esq Of Counsel Jenifer L. Keiser, CPA,

    EisnerAmper LLP

    chief Executive

    Timothy Walker AM Chief Executive and Artistic Director

    Amy SugarmanPA to the Chief Executive / Administrative Assistant

    Finance

    David BurkeGeneral Manager and Finance Director

    David GreensladeFinance and IT Manager

    Dayse GuilhermeFinance Officer

    concert Management

    Roanna Gibson Concerts Director

    Graham WoodConcerts and Recordings Manager

    Jenny Chadwick Tours Manager

    Tamzin Aitken Glyndebourne and UK Engagements Manager

    Alison JonesConcerts and Recordings Co-ordinator

    Jo CotterTours Co-ordinator Orchestra Personnel

    Andrew CheneryOrchestra Personnel Manager

    Sarah Holmes Sarah ThomasLibrarians ( job-share)

    Christopher AldertonStage Manager

    Damian Davis Transport Manager

    Ellie Swithinbank Assistant Orchestra Personnel Manager

    Education and community

    Isabella Kernot Education Director

    Alexandra ClarkeEducation and Community Project Manager

    Lucy DuffyEducation and Community Project Manager

    Richard MallettEducation and Community Producer

    Development

    Nick JackmanDevelopment Director

    Catherine Faulkner Development Events Manager

    Kathryn HagemanIndividual Giving Manager

    Laura Luckhurst Corporate Relations Manager

    Anna Quillin Trusts and Foundations Manager

    Helen Etheridge Development Assistant

    Rebecca FoggDevelopment Assistant

    Kirstin PeltonenDevelopment Associate

    Marketing

    Kath TroutMarketing Director

    Mia RobertsMarketing Manager

    Rachel WilliamsPublications Manager (maternity leave)

    Sarah BreedenPublications Manager (maternity cover)

    Samantha CleverleyBox Office Manager(Tel: 020 7840 4242)

    Libby Northcote-GreenMarketing Co-ordinator

    Digital Projects

    Alison Atkinson Digital Projects Director

    Matthew Freeman Recordings Consultant Public Relations

    Albion Media (Tel: 020 3077 4930) Archives

    Philip StuartDiscographer

    Gillian Pole Recordings Archive Professional Services

    Charles RussellSolicitors

    Crowe Clark Whitehill LLPAuditors

    Dr Louise MillerHonorary Doctor

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

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

    Orchestra Limited is a registered charity No. 238045.

    Photographs of Tchaikovsky, Elgar (portrait) and Rimsky-Korsakov courtesy of the Royal College of Music, London. Front cover photograph: Julian Calverley. Cover design/ art direction: Chaos Design.

    Printed by Cantate.