30jan10 lpo programme notes

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALLSaturday 30 January 2010 | 7.30 pm

MIRACULOUS LOGIC: THE MUSIC OF JEAN SIBELIUS

OSMO VÄNSKÄconductor

HELENA JUNTUNENsoprano

SIBELIUSSymphony 3 in C (26’)

SIBELIUSOrchestral Songs (25’)

INTERVAL

SIBELIUSSymphony 2 in D (44’)

PROGRAMME £3

CONTENTS2 List of Players3 Orchestra History4 Leader5 Osmo Vänskä6 Helena Juntunen7 Programme Notes

15 Recordings16 Southbank Centre17 Supporters18 Philharmonic News19 Administration20 Future Concerts

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

Principal Conductor VLADIMIR JUROWSKIPrincipal Guest Conductor YANNICK NÉZET-SÉGUINLeader PIETER SCHOEMANComposer in ResidenceMARK-ANTHONY TURNAGEPatron HRH THE DUKE OF KENT KG

Chief Executive and Artistic Director TIMOTHY WALKER AM†

† supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

48936 LPO 30 January 10.qxd:48936 LPO 30 January 10 22/1/10 13:16

2 | London Philharmonic Orchestra

LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINSPieter Schoeman* LeaderJeongmin KimKatalin VarnagyCatherine CraigTina GruenbergMartin HöhmannChair supported byRichard Karl Goeltz

Geoffrey LynnRobert PoolFlorence SchoemanSarah StreatfeildYang ZhangRebecca ShorrockAlain PetitclercPeter NallMidori SugiyamaToby Tramaseur

SECOND VIOLINSFredrik Paulsson GuestPrincipalClare Duckworth Co-PrincipalChair supported byRichard and Victoria Sharp

Joseph MaherNancy ElanFiona HighamNynke HijlkemaAshley StevensAndrew ThurgoodImogenWilliamsonSioni WilliamsAlison StrangePeter GrahamStephen StewartSheila Law

VIOLASAlexander Zemtsov* PrincipalAgnieszka OrlowskaRobert DuncanAnthony ByrneChair supported byJohn and Angela Kessler

Benedetto PollaniEmmanuella ReiterDaniel CornfordIsabel PereiraMiranda DavisSarah MalcolmClive HowardRebecca Carrington

CELLOSAlexander Somov GuestPrincipalFrancis BucknallLaura DonoghueSantiago Sabino Carvalho+

Jonathan AylingChair supported by Caroline,Jamie and Zander Sharp

Gregory WalmsleySusanna RiddellTom RoffHelen RathbonePavlos Carvalho

DOUBLE BASSESKevin Rundell* PrincipalLaurence LovelleGeorge PenistonDavid JohnsonRoger LinleyHelen RowlandsCatherine RickettsLowri Morgan

FLUTESLaura Lucas Guest PrincipalStewart McIlwham*

PICCOLOStewart McIlwham* Principal

OBOESIan Hardwick PrincipalAngela Tennick

CLARINETSRobert Hill* PrincipalEmily Sutcliffe

BASS CLARINETPaul Richards Principal

BASSOONSJohn Price PrincipalGareth Newman*Claire Webster

CONTRA BASSOONClaire Webster

HORNSJohn Ryan PrincipalMartin HobbsBrendan ThomasGareth MollisonNicolas Wolmark

TRUMPETSPaul Beniston* PrincipalAnne McAneney*Chair supported byGeoff and Meg Mann

Nicholas Betts Co-Principal

TROMBONESMark Templeton* PrincipalDavid Whitehouse

BASS TROMBONELyndon Meredith Principal

TUBALee Tsarmaklis Principal

TIMPANISimon Carrington* Principal

PERCUSSIONAndrew Barclay* Principal

HARPRachel Masters* Principal

* Holds a professorialappointment in London

+ Chevalier of the BrazilianOrder of Rio Branco

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

David and Victoria Graham FullerJulian and Gill SimmondsMrs StevenWardSimon Yates and Kevin Roon


London Philharmonic Orchestra | 3


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

The London Philharmonic Orchestra has been performingat Southbank Centre’s Royal Festival Hall since it openedin 1951, becoming Resident Orchestra in 1992. It playsthere around 40 times each season withmany of theworld’s most sought after conductors and soloists.Concert highlights in 2009/10 include Between TwoWorlds – an exploration of themusic and times ofAlfred Schnittke; a Sibelius symphony cycle withOsmoVänskä in January/February 2010; aperformance of Mendelssohn’s Elijah conducted byKurt Masur and dedicated to the 20th Anniversary ofthe Fall of the BerlinWall; and newworks byRautavaara, Philip Glass, Ravi Shankar and theOrchestra’s Composer in Residence, Mark-Anthony

Turnage. Imaginative programming and a commitmentto newmusic are at the heart of the Orchestra’s activity,with regular commissions and world premièreperformances.

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

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

© Richard Cannon

‘… the standard of execution by the LondonPhilharmonic Orchestra and Chamber Choirof the Moscow Conservatory, magnificentlycorralled by Jurowski, was exemplary.’ANDREW CLARK, FINANCIAL TIMES, 19 NOVEMBER 2009




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

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

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

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

To helpmaintain its high standards and diverse workload,the Orchestra is committed to the welfare of itsmusicians and in December 2007 received theAssociation of British Orchestras/Musicians BenevolentFund Healthy Orchestra Bronze Charter Mark.

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

In 2002, PieterSchoeman joined theLondon PhilharmonicOrchestra as Co-Leader. In 2008 he was appointed Leader.

Born in South Africa, hemade his solo debut with theCape Town Symphony Orchestra at the age of ten. Hestudied with Jack deWet in South Africa, winningnumerous competitions, including the 1984World YouthConcerto Competition in America. In 1987 he was offeredthe Heifetz Chair of Music scholarship to study withEdouard Schmieder in Los Angeles and in 1991 his talentwas spotted by Pinchas Zukermanwho recommendedthat hemove to NewYork to study with SylviaRosenberg. In 1994 he became her teaching assistant atIndiana University, Bloomington.

Pieter Schoeman has performed as a soloist and recitalistthroughout the world in such famous halls as theConcertgebouw in Amsterdam,Moscow's RachmaninovHall, Capella Hall in St Petersburg, Staatsbibliothek inBerlin, Hollywood Bowl in Los Angeles and QueenElizabeth Hall in London. As a chambermusician heregularly performs at London's prestigiousWigmore Hall.As a soloist with the London Philharmonic Orchestra, hehas performed Arvo Pärt's Double Concerto andBenjamin Britten's Double Concerto, which was recordedfor the Orchestra’s own record label. Most recently healso played concertos with theWiener Concertverein andOrchestre Philharmonique de Nice.

In 1995 Pieter Schoeman became Co-Leader of theOrchestre Philharmonique de Nice. During his tenurethere he performed frequently as Guest Leader with thesymphony orchestras of Barcelona, Bordeaux, Lyon,Baltimore and the London Philharmonic Orchestra.A frequent guest of the BBC Symphony Orchestra inLondon, Pieter Schoeman returned in October 2006 tolead that orchestra on a three week tour of Seoul, Beijing,Shanghai, Singapore and Kuala Lumpur.

Pieter Schoeman has recorded numerous violin soloswith the London Philharmonic Orchestra for Chandos,Opera Rara, Naxos, the BBC and for American film andtelevision. He led the Orchestra in its soundtrackrecordings for The Lord of the Rings trilogy. He teaches atTrinity College of Music.

PIETERSCHOEMANLEADER



OSMO VÄNSKÄCONDUCTOR

Praised for his intense and dynamic performances,Osmo Vänskä is recognised for compellinginterpretations of the standard, contemporary andNordic repertoires, as well as for the close rapport heestablishes with the musicians he leads.

In 2003, Vänskä became the tenth Music Director of theMinnesota Orchestra and has since drawnextraordinary reviews for concerts both at home andabroad, including appearances at Carnegie Hall andLincoln Center New York, major European tours, and avisit in 2009 to venues such as the Cologne and BerlinPhilharmonie, Frankfurt Alte Oper, Vienna Musikvereinand the Barbican in London. His Minnesota Orchestracontract has been renewed until 2015.

Vänskä and the Minnesota Orchestra have recentlycompleted a five-year, five-disc project to record thecomplete Beethoven symphonies on the BIS label. Thecollection has amassed rave reviews and their recordingof Beethoven’s Symphony 9 received a 2008 Grammynomination for ‘Best Orchestral Performance’. Last yearVänskä embarked on a series of new recordings,including all five Beethoven piano concertos withpianist Yevgeny Sudbin; a disc of Bruckner’s Symphony 4;and live recordings of Tchaikovsky’s Piano Concertos 1, 2and 3 and Concert Fantasiawith pianist Stephen Hough.

Vänskä was Music Director of the Lahti SymphonyOrchestra from 1988, and now holds the position ofConductor Laureate. He transformed the regionalensemble into one of Finland’s flagship orchestras.Their partnership has received widespread attentionthrough its collection of innovative Sibelius recordingson the BIS label and its international performances inLondon, Birmingham, Vienna and New York.

As a guest conductor in America, Vänskä has appearedwith the Boston Symphony, Chicago Symphony,Cleveland, National Symphony, New York Philharmonic,Philadelphia and Pittsburgh Symphony Orchestras. InEurope, he has conducted the Berlin Philharmonic, BBCSymphony, Czech Philharmonic, Helsinki Philharmonic,London Philharmonic and Royal ConcertgebouwOrchestras as well as the Gewandhaus OrchesterLeipzig and the Orchestre de Paris.

Osmo Vänskä began his music career as a clarinettist.He held the co-principal chair of the HelsinkiPhilharmonic from 1977-82 and the principal chair ofthe Turku Philharmonic from 1971-76. Followingconducting studies under Jorma Panula at Finland’sSibelius Academy, he was awarded first prize at the1982 Besançon International Young Conductors’Competition. Three years later he began his tenure withthe Lahti Symphony as Principal Guest Conductor, whilealso serving as Music Director of the Iceland SymphonyOrchestra and the Tapiola Sinfonietta. In addition,Vänskä served as Chief Conductor of the BBC ScottishSymphony Orchestra from 1997-2002.

In recent years, Vänskä has enjoyed a return toperforming on the clarinet. He has often playedchamber music with members of the MinnesotaOrchestra and has performed as a clarinettist at NapaValley’s Music in the Vineyards Festival and the MostlyMozart Festival in New York.

Vänskä has recorded extensively on the BIS label. Hisnumerous Sibelius recordings with the Lahti SymphonyOrchestra have amassed numerous awards, including a1996 Gramophone Award and Cannes Classical Awardfor the original version of the Symphony 5. His first-evercomplete recording of The Tempest won the 1993 PrixAcadémie Charles Cros, and his original version of theSibelius Violin Concerto with Leonidas Kavakos won the1991 Gramophone Awards for ‘Record of the Year’ and‘Best Concerto Recording’.

Vänskä was awarded an honorary doctorate from theUniversity of Glasgow in recognition of his tenure asChief Conductor of the BBC Scottish SymphonyOrchestra, and was also honoured with a RoyalPhilharmonic Society Award for his outstandingcontribution to classical music.



HELENA JUNTUNENSOPRANO

One of the most successful young Finnish artists oftoday, soprano Helena Juntunen opened the 2007/08season as Pamina in Die Zauberflöte in Geneva andHelsinki, as The Countess in Le nozze di Figaro in Niceand as Mimi in La bohème in her role debut in Helsinki.She also returned to the Minnesota Orchestra forBeethoven’s Symphony 9. Engagements this season andbeyond include her return to Malaga for Strauss’s FourLast Songs and Mahler’s Symphony 4, the title role inVeli-Matti Puumala’s opera Anna Liisa at the HelsinkiFestival, her debut in Gothenburg as Mimi, her roledebut as Marie/Marietta in Die tote Stadt in Nancy, andher debuts at the Concertgebouw in Amsterdam inSibelius’s The Tempest and with L’EnsembleIntercontemporain of Paris.

During the 2006/07 season she sang the role of Paminaat the Theater an der Wien and in Luxembourg, and therole of Jenny inMahagonny in Nancy and Luxembourg,as well as making her debut at the London Promsperforming Sibelius tone poems, and singing Mahler’sSymphony 2 in subscription concerts with theMinnesota Orchestra. She enjoyed a busy 2005/06season with Pamina at La Théâtre de la Monnaie inBrussels, followed by the same role in Nancy, Zdenka inArabella in Helsinki, Marie inWozzeck in Nice andPamina for the Aix-en-Provence Festival and the WienerFestwochen. In the same season she made her SalzburgFestival debut in Handel’s Alexander’s Feast, sangBarber’s Knoxville: Summer of 1915 in Malaga in Spain,and made her Minnesota Orchestra debut inBeethoven’s Symphony 9.

In 2004/05 Helena Juntunen made her debut in therole of Sophie in Der Rosenkavalier at the FinnishNational Opera, followed by her debut at Brussels’

Théâtre de la Monnaie as Pamina in Die Zauberflöte aswell as a return to the Savonlinna Festival for the role ofLiu in Turandot. The 2003/04 season was one of debutsfor Miss Juntunen, beginning with her Italian debut atthe Teatro Carlo Felice in Genoa as Madama Cortese inIl viaggio a Reims, followed by her Antwerp debut asZdenka in Arabella, and her Dresden Staatsoper debutas Pamina in Die Zauberflöte. In October 2003 she madeher New York recital debut at Carnegie Hall’s WeilRecital Hall in a programme of Lieder and song inGerman, French, Finnish, Swedish and Italian. She alsomade her American stage debut as Marguerite in Faustwith the Connecticut Grand Opera. Earlier in the sameseason she appeared with the National Orchestra ofBelgium in Villa-Lobos’s Bachianas Brasileiras No. 5,among other works under the baton of Mikko Franckand took the the role of Liu in a new production ofPuccini's Turandot at the Savonlinna Festival.

At the 2002 Savonlinna Festival in Finland, HelenaJuntunen generated great critical acclaim in her debutas Marguerite in Gounod’s Faust. She has appeared atthe Finnish National Opera since the 1999-2000 season,most recently as Zdenka in Strauss’s Arabella andMadame Cortese in Rossini’s Il viaggio a Reims. She hasalso worked as a soloist with internationally renownedconductors such as Esa-Pekka Salonen, Jukka-PekkaSaraste, Mikko Franck and Osmo Vänskä. Her repertoirealso encompasses the roles of Gilda in Rigoletto, Adinain L'elisir d’amore, both Mimi and Musetta in Labohème, Siebel in Gounod’s Faust, and MissWordsworth in Britten’s Albert Herring, which she hasperformed in theatres throughout Finland.

Miss Juntunen’s discography to date includes the role ofHilda in Rautavaara’s Aleksis Kivi and Irene in The Houseof the Sun by the same composer. She has also recordeda solo CD of Finnish Songs by Leevi Madetoja, all ofwhich have been released by the Ondine label.

The recipient of numerous awards and prizes, HelenaJuntunen was awarded First Prize in the LappeenrantaSinging Competition 2002, the Tampere Opera GrandPrix in 2001 and the Timo Mustakallio SingingCompetition in 2000. She is an alumna of the SibeliusAcademy, and studied Lieder with ElisabethSchwarzkopf, Hartmut Holl, Mitsuko Shirai and IlmoRanta.



PROGRAMME NOTES

SPEEDREAD

Sibelius’s dramatic, colourful and fervently patrioticSecond Symphony is deservedly one of his most popularmajor works; its successor, the Third, is far less wellknown. On first hearing it seemsmore abstract, morerigorously compact, and less melodically generous – atleast in its outer movements. But as a demonstration ofSibelius’s belief that a symphony should be ‘like a river’ it

could hardly be bettered: a powerful current runsthrough the work, rising like amighty tide at the ending.

Between these two great symphonies we find amoreintimate Sibelius in the orchestral versions of some of hisfinest songs, opening withHöstkväll (‘Autumn Evening’)– in effect a masterly miniature tone poem summing upsomuch of Sibelius’s intense feeling about man’s place innature.

MIRACULOUS LOGIC:THE MUSIC OF JEAN SIBELIUS

No conductor today has done more than OsmoVänskä to challenge and enrich our understanding ofthe great Finnish composer Jean Sibelius. Not only ishe a truly exceptional interpreter of the composer’smusic but he has also brought to light vast quantitiesof unknown or little known Sibelius music.

In a series of four concerts Osmo Vänskä takes usthrough the entire chain of Sibelius symphonies,pausing on the way to explore some lesser knowngems such as The Wood Nymph and the Cantique andDevotion for cello and orchestra, as well as allowingus to hear the great orchestral tone poem Tapiolaand the intoxicating vocal tone poem Luonnotar.

Tonight we hear two early symphonies – Nos 2 and 3– and in between Finnish soprano, Helena Juntunen,joins us for a selection of exquisite Sibelius songs.

‘Youmention interconnections between themesand other suchmatters, all of which are quitesubconscious onmy part. Only afterwards can onediscern this or that relationship but for themostpart one is merely the vessel. That miraculous logic(let us call it God) which governs a work of art, thatis the important thing.’JEAN SIBELIUS TO HIS FRIEND AXEL CARPELAN

Jean Sibelius1865-1957



PROGRAMME NOTES

Sibelius’s Third Symphony (1904-7) is a significantlydifferent kind of work from the much more popularSecond. In several ways it represents the next stage inthe composer’s long struggle to free himself from whathe felt were the excesses of late romanticism: the huge,loose-limbed structures and vast, colour-enhancedorchestras of Mahler, Richard Strauss or Scriabin. In thisnew symphony Sibelius scaled his orchestra down tothe kind of forces Beethoven or Schumann would haverecognised, and compressed his argument into just overhalf-an-hour. Sibelius may also have been influenced bythe ideal of Junge Klassizität (‘Young Classicism’) of hisfriend, the virtuoso pianist and composer FerruccioBusoni, but as the First and Second Symphonies show,he had begun this journey towards greater economyand clarity at least a decade earlier.

This may all sound forbiddingly abstract, and yet theeffect is quite different. Sibelius was never interested inmusical structure or argument for its own sake. ‘Ishould like to compare the symphony to a river’, he oncewrote. ‘It is born from various rivulets that seek eachother and in this way the river proceeds wide andpowerful towards the sea.’What is wonderful aboutSibelius’s river-like – or as it is often put, ‘organic’ –musical logic is that you don’t have to be a musician ormusicologist to understand it. Most listeners simply‘feel’ the current and allow themselves to be carriedalong by it. That is certainly the case in the Symphony’sfirst movement, which grows with magnificentinevitability from its opening theme (cellos and bassesalone) – relatively quiet, but full of potential energy. The

compelling momentum continues, almost unabated,until the calmer, slower coda, with its solemn closing‘Amen’ cadence – an echo perhaps of the nationally-flavoured religious cantataMarjatta Sibelius wasplanning at the time, but never finished.

Sibelius the magician, the creator of haunting moodsand landscapes, is much more in evidence in the nexttwo movements. The second is a slow, lilting nocturnaldance, painted in muted colours. The waltz-like firsttheme alternates with passages of thoughtful stillness.The first of these – a solemn chant-like dialoguebetween choirs of cellos and woodwind – is almostcertainly another echo of theMarjatta scheme. Laterthough come flickers of light on woodwind, like thefaint light of low sun through trees on a far-Northernwinter’s day. The finale is really two movements in one.It begins as a scherzo: like the slow movement this isprevailingly quiet, with its own moments of mystery –as when nasal muted horns recall the eerie forestscapesof Sibelius’s tone poem Nightride and Sunrise. Butgradually the horn figure is transformed into somethingbrighter and more confident – another hymn-like tune,this time on violas and cellos. The finale has emergedfrom the scherzo, just as the finale of Beethoven’s Fifthemerges in splendour from the dying embers of itsscherzo third movement (a transformation whichfascinated Sibelius throughout his career). Gradually theenergy builds and the hymn sounds in triumph abovevigorously pulsating strings. Then a curt, three-notegesture on full brass brings the symphony to a suddenbut satisfying close.

SYMPHONY 3 IN C, OP. 52

Allegro moderato | Andantino conmoto, quasi allegretto |Moderato – Allegro (ma non tanto)


Höstkväll

Solen går ned,och molnen vandra med vefullt sinnehän över skummande sjö,över susande skogars skymning.Måsen skriar på ödsligt skärfalken dväljes i klyftans skygdtrött att jaga han gömt sin näbbi vingens av skurar tyngda dun.

Solen gick ned,det mörknar allt mer över moens furor,mörknar om bergen,där ränniln suckar i ljung och mossa.Tvinsjukt dröjer ett gulblekt skenöver västliga kullars rand.Dagens viskande avsked tonarsorgset i tätnande skuggor bort.

Autumn Evening

The sun goes downAnd the clouds wander in woeful moodPassing over the foaming lake,Over the twilight of sighing forests.The seagull screams on a desolate rock,The falcon stays in his crevice,Tired of hunting, he hides his beakIn the rain-heavy down of his wing.

The sun went down,It darkens over the moorland pines.Darkens round the mountains,Where the rivulet sighs in moss and heather.A sallow gleam stays languishingOver the rim of the western hills.The whispering day’s farewellIn thickening shadows fades sadly away.


PROGRAMME NOTES

ORCHESTRAL SONGSHöstkväll (Op. 38/1) – Autumn Evening | Den första kyssen (Op. 37/1) – The First Kiss | Flickan kom ifrån sinälsklings möte (Op. 37/5) – The Girl came from her Lovers’Tryst | Bollspelet vid Trianon (Op. 36) – Tennis at Trianon |Arioso (Op. 3) |Hertig Magnus (Op. 57/6) – DukeMagnus | Var det en dröm? (Op. 37/4) –Was It a Dream?

HELENA JUNTUNEN soprano

Together, Sibelius’s nearly a hundred songs form a richand, outside the Nordic countries, shamefully under-explored territory. His writing for the female voice inparticular can be searingly beautiful: as for instance inthe glorious tone poem Luonnotar. In the songs theeternal themes of love and death are pervasive but –unsurprisingly given that this is Sibelius – nature oftenplays a vital supporting role. The big surprise for many isthat this great symphonist was also able to say somuch, and so finely, in these miniature forms.

Most of the songs were written for voice and piano, andon the whole Sibelius preferred to keep them that way.However he realised some could benefit from astronger, more colourful palate: for instance theunsettling, supernatural drama Hertig Magnus (‘DukeMagnus’, 1909) or the seductively melancholic Arioso(1910) – these he orchestrated himself. The haunting

Var det en dröm? (‘Was it a dream?’, 1902) is performedthis evening in an orchestration by Simon Pergament-Parmet and the unashamedly romantic Den förstakyssen (‘The First Kiss’, 1900) in an orchestration by Nils-Eric Fougstedt. Ernest Pingould orchestrated the dark-toned Flickan kom ifrån sin älsklings möte (‘The Girlcame from her Lovers’ Tryst’, 1901) as well as the otherwordly, Gallic-flavoured Bollspelet vid Trianon (‘Tennis atTrianon’, 1899). However when it came to a masterpiecelike Höstkväll (‘Autumn Evening’, 1903) Sibelius clearlyrealised that this powerful song – effectively aminiature tone poem – demanded to speak in orchestralterms and undertook the task himself. Its theme lies atthe core of so much of Sibelius’s greatest music: asolitary figure feels awestruck and exalted by theelemental mystery of nature, his own sorrow dying ‘likea cry lost in the autumn’s mighty lament’.


Den första kyssen

På silvermolnets kant satt aftonstjärnan,från lundens skymning frågte henne tärnan:Säg, aftonstjärna, vad i himlen tänkes,när första kyssen åt en älskling skänkes?Och himlens blyga dotter hördes svara:På jorden blickar ljusets änglaskara,och ser sin egen sällhet speglad åter;blott döden vänder ögat bort och gråter.

Johan Ludvig Runeberg (1804-1877)

The First Kiss

Upon the silver cloud sat the evening star.From the dusk of a grove asked the maiden:Pray tell, evening star, what you in heaven thinkWhen a first kiss is given to a lover?And heaven’s shy daughter was heard to reply:The angels of light look down on earthAnd see their own joy reflected;Death alone averts his eyes and weeps.

English translation: BIS Records

Flickan kom ifrån sin älsklings möte

Flickan kom ifrån sin älsklings möte,kom med röda händer. Modern sade:”Varav rodna dina händer, flicka?”Flickan sade: ”Jag har plockat rosoroch på törnen stungit mina händer.”

Åter kom hon från sin älsklings möte,kom med röda läppar. Modern sade:”Varav rodna dina läppar, flicka?”Flickan sade: ”Jag har ätit hallonoch med saften målat mina läppar.”

The Girl came from her Lovers’ Tryst

The girl came from her lovers’ tryst.Came back with hands all red. Her mother asked:‘What made your hands so red, girl?’The girl replied: ‘I was picking rosesand pricked my hands on the thorns.’

Again she came from her lovers’ tryst,Came back with lips all red. Her mother asked:‘What makes your lips so red, girl?’The girl replied: ‘I was eating berriesAnd painted my lips with the juice.’


PROGRAMME NOTES

Regnets fall på hällarnasorlar av vemods sägnerfödda av molnens jordkringsvävande skumma tankar;sjöns emot stranden brutna vågbrusar av dunkla ödens gång,röster, skälvande hemskt av smärta,ropa i stormen ur skogens djup.

Ensam ute i öde nejdmot fuktig klippa lutad,står förtrollad en vandrare,lyss och njuter.Känner hans själ en samklangmed sången, som höjes av stjärnlös natt?Dör hans ve som en sakta toni höstens väldiga sorgedikt?

Viktor Rydberg (1828-1895)

The falling rain on the rocksMurmurs with sad tales,Born of the soil of the cloudsRoaming, elusive thoughts;The lake’s wave breaking on the shore,Clamours with gloomy fortunes past,Voices dismally trembling in painCall in the storm from the forest’s deep.

Out alone in a desolate place,Against a damp rock leaning,A wanderer stands enchantedAnd listens with pleasure.Does his soul feel in harmonyWith the song that is raised by the starless night?Does his grief die like a gentle noteIn the mighty autumnal lament?



Bollspelet vid Trianon

Det smattrar prat och slår boll och skrattaremellan träden vid Trianon,små markisinnor i schäferhattar,de le och gnola, lonlaridon.

Små markisinnor på höga klackar,de leka oskuld och herdefestför unga herdar med stela nackar,vicomte Lindor, monseigneur Alceste.

Men så med ettvid närmsta stamstack grovt och brettett huvud fram.

Vicomten skrek: ”Voilà la tête là!”och monseigneur slog förbi sin bolloch ”qu’est-ce que c’est?” och ”qui est la bête là?”det ljöd i korus från alla håll.

Och näsor rynkas förnämt koketta,en hastig knyck i var nacke faroch markisinnor hoppa lättaoch bollen flyger från par till par.

Men tyst därifrånmed tunga fjätgår dräggens sonJourdan Coupe-tête.

Gustaf Fröding (1860-1911)

Tennis at Trianon

There is prattling, ball-game and laughterAmong the trees of Trianon,Little marquises wearing shepherdesses’ hatsSmile and warble ‘lonlaridon’.

Little marquises in high-heeled shoesPlay at innocence, at being shepherdesses,For young and stiff-necked shepherds,Vicomte Lindor, Monseigneur Alceste.

But suddenlyFrom behind a nearby treeA coarse and broadHead appeared.

The Vicomte shouted ‘Voilà la tête là!’And the Monseigneur missed his ballAnd ‘qu’est-ce que c’est?’ and ‘qui est la bête là?’Was heard in chorus from one and all.

And noses are wrinkled in studied disdain,Heads are given a brisk toss,And the marquises skip lightlyAnd the ball flies from couple to couple.

But quietly thence,With heavy steps,Goes the son of the gutterJourdan Coupe-tête.



PROGRAMME NOTES

Åter kom hon från sin älsklings möte,kom med bleka kinder. Modern sade:”Varav blekna dina kinder, flicka?”Flickan sade: ”Red en grav, o moder!Göm mig där och ställ ett kors däröver,och på korset rista, som jag säger:

En gång kom hon hem med röda händer,ty de rodnat mellan älskarns händer.En gång kom hon hem med röda läppar,ty de rodnat under älskarns läppar.Senast kom hon hem med bleka kinder,ty de bleknat genom älskarns otro.”

Johan Ludvig Runeberg (1804-1877)

Again she came from her lovers’ tryst,Came back with her cheeks all pale. Her mother asked:‘What makes your cheeks so pale, girl?’The girl replied: ‘Oh mother, dig for me a grave,Hide me in it and raise a cross,And on the cross carve what I say:

Once she came home with hands all red,For they had reddened between her lover’s hands.Once she came home with lips all red,For they had reddened beneath her lover’s lips.At last she came home with cheeks all pale,For they had paled through her lover’s betrayal.’



Hertig Magnus

Hertig Magnus från sitt fönsterdrömmande ser Vätterns böljamånbelyst och sval och klangrikslottets fasta murar skölja;

Tunga kval hans själ förvirrat,att sin gode far han mistat,och att blod i strömmar flutitför hans bröders skull, som tvistat.

Hertig Magnus från sitt fönsterser i vattnets ljusa dagerliten sjönymf ljuvligt vagga,sjungande och fri och fager:

”Hertig Magnus”, så hon sjunger,”kom till mig från slottet höga,att ditt ädla sjuka hjärtai den svala böljan löga,

låt mig kyssa få din tinning,sköna prins, låt dig beveka,kasta dig i mina armar,på gullharpan skall jag leka!”

Hertig Magnus från sitt fönster,tjusad utav nymfens fägring,sprang i vattnet, lät sig förasav sin undersköna hägring,

Duke Magnus

Duke Magnus, from his window,Gazes at how Lake Vättern’s waves,Moonlit and cool and richly sounding,Lap against the castle’s strong walls.

Deep cares have clouded his soul:The loss of his own good fatherAnd blood flowing in rivers,Caused by his brothers, and their strife.

Duke Magnus, from his window,Sees in the bright watersA little water-nymph, rocking sweetly,Singing and free and beautiful:

‘Duke Magnus,’ she sings,‘Come to me from high in the castle,To bathe your noble, suffering heartIn the cool waves.

Grant me leave to kiss your brow,Fair prince, I implore you,Cast yourself into my arms,I shall play on my golden harp!’

Duke Magnus, from his window,Enchanted by the nymph’s beauty,Leaped into the water, let himself be ledBy the wondrously fair illusion,


PROGRAMME NOTES

Arioso

Flickan gick en vintermorgoni den rimbeströdda lunden,såg en vissnad ros och talte:”Sörj ej, sörj ej arma blomma,att din sköna tid förflutit!Du har levat, du har njutit,du har ägt din vår och glädje,innan vinterns köld dig nådde.

Värre öde har mitt hjärta,har på en gång vår och vinter:gossens öga är dess vårdagoch min moders är dess vinter.

”Sörj ej, arma blomma,att din sköna tid förflutit!”

Johan Ludvig Runeberg

Arioso

The maid went out one winter morningIn the frost-sprinkled grove,Saw a faded rose and said:‘Weep not, weep not, dearest flower,That your fairest time is past,You have lived and have enjoyed,You have known your spring and pleasureEre the winter cold did strike you.

A far worse fate my heart has suffered,To know at once both spring and winter:My own boy’s eye its day in springAnd my mother’s is its winter.

‘Weep not, weep not, dearest flower,That your fairest time is over!’



Var det en dröm?

Var det en dröm, att ljuvt en gångjag var ditt hjärtas vän?Jag minns det som en tystnad sång,då strängen darrar än.

Jag minns en törnros av dig skänkt,en blick så blyg och öm;jag minns en avskedstår, som blänkt.Var allt, var allt en dröm?

En dröm lik sippans liv så kortuti en vårgrön ängd,vars fägring hastigt vissnar bortför nya blommors mängd.

Men mången natt jag hör en röstvid bittra tårars ström:göm djupt dess minne i ditt bröst,det var din bästa dröm!

Josef JuliusWecksell (1838-1907)

Was it a Dream?

Was it a dream that once, in bliss,I was your heart’s true friend?I recall it as a song long past,Though a string still trembles.

I recall a rose received from you,A glance so shy and sweet;I recall a glistening parting tear.Was it all, was it all a dream?

A dream as brief as an anemone’s lifeIn a spring meadow green,Whose beauty quickly fades awayReplaced by hosts of new flowers.

But many a night I hear a voiceThrough floods of bitter tears:Hide its memory deep in your heart.It was your fairest dream!


INTERVAL 20 minutes

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


PROGRAMME NOTES

bars omkring tills morgon gryddeav den väna vattuanden,och blev funnen bland violer,oskadd, slumrande på stranden.

Ernst Josephson (1851-1906)

He was carried about ’til dawnBy the fair spirit of the water,And was found among violets,Unharmed, slumbering on the lake shore.



PROGRAMME NOTES

Sibelius once told his fellow composer Gustav Mahlerthat, for him, writing symphonies was about finding‘the profound logic that establishes a connectionbetween all the motifs’. True, no twentieth centurycomposer is more profoundly logical than Sibelius at hisbest: following the development of a whole movementfrom a tiny thematic ‘germ’ can be like watching aspeeded-up film of a plant growing from a seed to fullflower. But it’s also clear that there is much more to awork like the Second Symphony than abstractdevelopment. In fact the slow second movement beganlife as a tone poem about the final struggle betweenDon Juan and Death – it’s still possible to trace theoutlines of the story in the music – while thetriumphant emergence of the majestic Finale themefrom the stormy ending of the third movement is muchmore than a clever piece of musical engineering. Formany of Sibelius’s fellow Finns, listening to thesymphony’s first performance in 1902, this passage inparticular expressed the nation’s growing hope ofindependence after a century of Russian domination. Infact the Second Symphony soon came to be known asthe ‘Symphony of Liberation’. For his part, Sibelius nevercompletely confirmed or denied this interpretation, butit’s hard to believe that the fate of his oppressed butheroically defiant native country didn’t leave a deepimprint on this music – and especially on its blazinglypositive conclusion.

In the first movement profound logic and mountingoptimism work hand in hand. The opening string chordsoutline a three-note rising figure, moving upwards insimple steps. This the seed from which almosteverything in this music grows. But at first the growth ishesitant, broken by pauses and expectant silences.Eventually the pace and excitement mount, but this tooseems to run out of steam, and a nervous oboe figure,with murmuring string accompaniment initiates a long,striving build up. At the height of this long crescendotriumphant brass fanfares burst through, culminating in

a grand restatement of the opening material, nowwithout its earlier hesitancy. A brief recapitulation leadsto a calmer coda, the opening rising string figures nowfalling to rest.

Eerie pizzicato (plucked) figures for basses and cellos,followed by a lugubrious bassoon solo, set a moresombre tone for the slow movement. In his sketches forthe original Don Juan tone poem Sibelius sketched out aprogramme for this first section: ‘Sitting in the twilightin my castle. A stranger comes in. I ask him more thanonce who he is. Finally he strikes up a song. Then DonJuan sees who it is – Death.’ It’s not hard to match thisclosely to the music. The sense of struggle grows darker,more painful, but a warmer, major key theme for fullstrings (in the sketches labelled ‘Christus’) bringswelcome contrast. In this movement it is the darkermusic – ‘Death’ according to Sibelius’s abandonedprogramme – that wins.

However that only makes the rushing vitality of thefollowing Vivacissimo third movement all the moreexhilarating. Twice this music is interrupted by a chant-like theme (led by oboe) in a slower tempo. The secondtime however this leads into a stormy transition, withscraps of a new theme heard first on bass instruments –Sibelius’s model here is clearly the thrilling Scherzo-Finale transition in Beethoven’s Fifth Symphony.Eventually the clouds part, and the scraps fuse into thesuperbly confident Finale theme, striding forward inthree beats to the bar. This movement too has its darkerepisodes – Sibelius’s widow revealed that the plaintiveoboe theme (above murmuring low strings) wascomposed in memory of her sister, who committedsuicide – Death in another guise. But eventually theFinale theme returns with renewed vigour. Finally thetempo broadens and trumpets extend the Finale themeinto a radiant song of victory.

Programme notes by Stephen Johnson © 2010

SYMPHONY 2 IN D, OP. 43

Allegretto | Tempo Andante, ma rubato | Vivacissimo – Lento e suave – Tempo primo – Lento e suave – | Finale:Allegro moderato




RECORDINGSON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. Theymay also be purchased from all good retail outlets or through the London PhilharmonicOrchestra: telephone 020 7840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

LPO-0005 Paavo Berglund conducts Sibelius’s Symphonies 2 in Dand 7 in C

‘Both here and in the Seventh Symphony’s magnificent single-movement span, Berglund judges the music’s shifts of pace withunerring sureness, and really makes the big moments happen.’MALCOLM HAYES, CLASSIC FM, DECEMBER 2005

LPO-0006 The Founding Years: Thomas Beecham conducts Mozart,Chabrier, Sibelius and Handel

‘The LPO’s first issues include this disc of recordings from the 1930s,when the orchestra and its founder, Thomas Beecham, were makinghistory. The excerpts from Sibelius’s Tempestmusic, never issuedbefore, are a fascinating rarity… The studio versions of Mozart’sHaffner Symphony and Chabrier’s España are scintillating examplesof the playing that transformed the British orchestral scene.’THE SUNDAY TIMES, 9 OCTOBER 2005

LPO-0036 Osmo Vänskä conducts Rachmaninov’s Symphony 3 andBax’s Tintagel

‘Vänskä’s account of the Third Symphony is a marvel of measured,uninflated eloquence.’PAUL DRIVER, THE SUNDAY TIMES, 23 NOVEMBER 2008



WELCOMETO SOUTHBANK CENTRE

We hope you enjoy your visit. We have a Duty Manageravailable at all times. If you have any queries please askany member of staff for assistance.

Eating, drinking and shopping? Southbank Centre shopsand restaurants include: MDC music and movies, Foyles,EAT, Giraffe, Strada, wagamama, Le Pain Quotidien, LasIguanas, ping pong, Canteen, Caffé Vergnano 1882,Skylon and Feng Sushi, as well as cafes, restaurants andshops inside the Royal Festival Hall, Queen ElizabethHall and Hayward Gallery.

If you wish to get in touch with us following your visitplease contact our Head of Customer Relations atSouthbank Centre, Belvedere Road, London SE1 8XX,by email at [email protected] or phone020 7960 4250.

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 ifthere is a suitable break in the performance

RECORDING is not permitted in the auditorium withoutthe prior consent of Southbank Centre. Southbank Centrereserves the right to confiscate video or sound equipmentand hold it in safekeeping until the performance has ended

MOBILES, PAGERS AND WATCHES should be switchedoff before the performance begins

Miraculous Logic: The Music of Jean Sibelius

Wed 27 January - Fri 5 February 2010Southbank Centre’s Royal Festival Hall

Four concerts featuring all sevenSibelius symphonies plus music forsoloists and orchestra

OSMO VÄNSKÄ conductor

HENNING KRAGGERUD violinHELENA JUNTUNEN sopranoKRISTINA BLAUMANE cello

For full details of these concerts,see page 16.

‘Vänskä drew playing ofutmost subtlety from the LPO’JOHN ALLISON, THE SUNDAY TELEGRAPH,MAY 2008



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Hon. BenefactorElliott Bernerd

Hon. Life MembersKenneth GoodeMrs Jackie Rosenfeld OBE

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

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



Southwark Composition ProjectFree Pre-Concert PerformanceWednesday 3 February | 6pmRoyal Festival HallAs part of the Orchestra’scommitment to schools in the localcommunity, animateur PaulGriffiths and Orchestra membershave been helping pupils fromGrange Primary School inSouthwark discover Sibelius’s 5thSymphony.

Using the work as inspiration, thestudents (all aged 10-11) havedevised their own compositionwhich will be performed at a freepre-concert event on 3 February at6pm in the Royal Festival Hall.

As with so much of Sibelius’s music, the joyous 5thSymphony comes from his passion for the beauty of theFinnish landscape and its wildlife. It represents adeparture from the melancholic tones of the FourthSymphony, and is often seen as depicting Sibelius’s ownjourney to a happier place in his life. It also represents amove away from traditional musical form, as the piecefragments into a wide array of different musical motifsand ideas that finally coalesce at the symphony’s epicclimax.

Armed with this array of imagery, Paul Griffiths and theOrchestra members ran a series of creative compositionworkshops. They explored the Symphony’s labyrinth ofmelodies and motifs and encouraged the youngstudents to improvise around them to create their ownmusical themes. From these improvisations, they thenpulled out the different ideas that went into creatingtheir own original composition.

Arrive early for next Wednesday’s concert to hear theculmination of their hard work and their enthusiasticengagement with classical music.

The Orchestra’s iPhone app ‘sets the bar’The London Philharmonic Orchestra’s iPhone app wasselected by The Observer newspaper as one of their topculture apps:

‘Combining select LPO recordings (recent additionsinclude Dvorák’s Requiem and Brahms’s HungarianDances), with video performances, podcasts, concertinfo and links to iTunes, this app sets the bar forresident orchestras.’OBSERVER, 3 JANUARY 2010

If you have an iPhone or iPod touch, don’t forget todownload the Orchestra’s FREE app (fromwww.lpo.org.uk/iphone) to keep up to date with news,reviews, podcasts and recordings as well as concertinformation.

What is an iPhone app?An app (as in ‘application’) is a powerful smallprogramme to add to your iPhone to extend what it cando beyond phone, camera and internet functions. Manyapps are lighthearted fun, but there are thousands ofextremely useful ones too – for example updates onflight status; online radio; foreign language translation;finding your nearest restaurant.

There are apps with theatre listings, digitised worksfrom art galleries, guides to gardens and museums andmore. With over 90,000 apps on the iTunes app storethere are apps for almost everything.

PHILHARMONIC NEWS

Pupils from last year’s Southwark Composition Projectrehearse their composition.

AlecHaylor



ADMINISTRATION

BOARD OF DIRECTORS

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

THE LONDONPHILHARMONIC TRUST

Pehr GyllenhammarChairmanDesmond Cecil CMGSir George Christie CHRichard Karl GoeltzJonathan Harris CBE FRICSDr Catherine C. HøgelMartin HöhmannAngela KesslerClive Marks OBE FCAVictoria SharpJulian SimmondsTimothy Walker AM †Laurence WattSimon Yates

AMERICAN FRIENDS OF THELONDON PHILHARMONICORCHESTRA, INC.

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

PROFESSIONAL SERVICES

Charles RussellSolicitors

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GENERAL ADMINISTRATION

Timothy Walker AM †Chief Executive andArtistic Director

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FINANCE

David BurkeGeneral Manager andFinance Director

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CONCERT MANAGEMENT

Roanna ChandlerConcerts Director

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Matthew FreemanRecordings Consultant

ORCHESTRA PERSONNEL

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EDUCATION ANDCOMMUNITY PROGRAMME

Matthew ToddEducation andCommunity Director

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DEVELOPMENT

Emma O’ConnellDevelopment Director

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MARKETING

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ARCHIVES

Edmund PirouetConsultant

Philip StuartDiscographer

Gillian PoleRecordings Archive

INTERN

Josephine LangstonMarketing

LONDON PHILHARMONICORCHESTRA

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

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

The London PhilharmonicOrchestra Limited is aregistered charity No. 238045.

Photograph of Sibeliuscourtesy of the Royal Collegeof Music, London.

Photograph on the front coverby Benjamin Ealovega.

Programmes printed byCantate.

†Supported by Macquarie Group



FUTURE CONCERTSAT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

MIRACULOUS LOGIC: THE MUSIC OF JEAN SIBELIUSWednesday 3 February 2010 | 7.30pm

Sibelius LuonnotarSibelius Symphony 4Sibelius Symphony 5

Osmo Vänskä conductorHelena Juntunen soprano

FREE Pre-Concert Event6.00pm | Royal Festival HallA performance by Lambeth and Southwark schoolchildren marking the culmination of their compositionproject, inspired by this evening’s repertoire.

MIRACULOUS LOGIC: THE MUSIC OF JEAN SIBELIUSJTI Friday Series | Friday 5 February 2010 | 7.30pm

Sibelius TapiolaSibelius Cantique and Devotion for cello and orchestraSibelius Symphony 6Sibelius Symphony 7

Osmo Vänskä conductorKristina Blaumane cello

Wednesday 10 February 2010 | 7.30pm

Ravel Suite 2, Daphnis et ChloéRavel Valses nobles et sentimentalesPoulenc Concerto for Two PianosDebussy Prélude à l’après-midi d’un fauneDebussy La Mer

Yannick Nézet-Séguin conductorMelvyn Tan pianoRonald Brautigam piano

Friday 5 February 2010FREE Pre-Concert Event6.15pm | Royal Festival HallYannick Nézet-Séguin introduces the evening’sprogramme.

Saturday 13 February 2010 | 7.30pm

Ravel Pavane pour une Infante défunteRavel Le Tombeau de CouperinDebussy NocturnesFauré PavanePoulenc Stabat Mater

Yannick Nézet-Séguin conductorLisa Milne sopranoLondon Philharmonic Choir

Wednesday 17 February 2010 | 7.30pm

Tchaikovsky Fantasy Overture, Romeo and JulietProkofiev Piano Concerto 1Prokofiev Romeo and Juliet (excerpts)

Vladimir Jurowski conductorAlexander Toradze piano

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

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

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

Osmo Vänskä andKristina Blaumane

Yannick Nézet-Séguin and LisaMilne

Melvyn Tan andRonald Brautigam


30jan10 lpo programme notes

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