6 march 2011 lpo programme notes

CONGRESS THEATRE, EASTBOURNESunday 6 March 2011 | 3.00pm

VLADIMIR JUROWSKIconductor

ALON GOLDSTEINpiano

HAYDNSymphony No. 63 in C (La Roxelane) (20’)

MENDELSSOHNConcerto No. 1 in G minor for piano and orchestra (20’)

INTERVAL

TCHAIKOVSKYSymphony No. 4 in F minor (44’)

Concert generously supported by donors to the 2010/11 Eastbourne Appeal.

PROGRAMME £2.50

CONTENTS

2 List of Players3 Vladimir Jurowski4 Alon Goldstein5 Programme Notes8 Recordings9 Congress Theatre10 Orchestra History11 Supporters12 Administration

The timings shown are not preciseand are given only as a guide.

Principal Conductor VLADIMIR JUROWSKIPrincipal Guest Conductor YANNICK NÉZET-SÉGUINLeader PIETER SCHOEMANComposer in Residence JULIAN ANDERSONPatron HRH THE DUKE OF KENT KGChief Executive and Artistic Director TIMOTHY WALKER AM†

† supported by Macquarie Group

Ticket Office01323 412000www.eastbournetheatres.co.uk

CONCERT PRESENTED BY THELONDON PHILHARMONICORCHESTRA IN ASSOCIATION WITHEASTBOURNE BOROUGH COUNCIL.

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2 | London Philharmonic Orchestra

LONDON PHILHARMONIC ORCHESTRA

Pieter Schoeman wasappointed Co-Leader ofthe London PhilharmonicOrchestra in 2002 andLeader in 2008. Born in1969 in South Africa hemade his debut at the ageof ten with the Cape TownSymphony Orchestra. Sincethen he has performed assoloist and recitalist insuch famous halls as theConcertgebouw inAmsterdam, Moscow’sRachmaninov Hall, CapellaHall in St Petersburg,Staatsbibliothek in Berlin,Hollywood Bowl in LosAngeles and Wigmore Hall,London. He has also playedextensively on radio andtelevision in the UnitedStates, Russia, SouthAfrica, China and the UK.In 1995, he became Co-Concertmaster of theOrchestre Philharmoniquede Nice in France and hasalso performed as GuestConcertmaster with thesymphony orchestras ofBarcelona, Bordeaux, Lyonand Baltimore. This seasonhe will lead the RotterdamPhilharmonic Orchestra onseveral occasions. Heteaches at Trinity College ofMusic.

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FIRST VIOLINSPieter Schoeman* LeaderVesselin Gellev Sub-LeaderChair supported byJohn and Angela Kessler

Katerina MitchellKatalin VarnagyCatherine CraigThomas EisnerTina GruenbergMartin HöhmannChair supported byRichard Karl Goeltz

Geoffrey LynnRobert PoolSarah StreatfeildYang Zhang

SECOND VIOLINSClare Duckworth PrincipalChair supported by Richard and Victoria Sharp

Jeongmin KimJoseph MaherKate BirchallChair supported by David and Victoria Graham Fuller

Nancy ElanFiona HighamAshley StevensDean WilliamsonSioni WilliamsHeather BadkeAlison StrangeStephen Stewart

VIOLASAlexander Zemtsov* PrincipalChair supported by The Tsukanov Family

Robert DuncanKatharine LeekSusanne MartensBenedetto PollaniEmmanuella Reiter-BootimanLaura VallejoDaniel Cornford

CELLOSKristina Blaumane PrincipalSusanne Beer Co-PrincipalFrancis BucknallLaura DonoghueJonathan AylingChair supported by Caroline,Jamie and Zander Sharp

Santiago Sabino Carvalho+

Gregory Walmsley

DOUBLE BASSESKevin Rundell* PrincipalTim Gibbs Co-PrincipalLaurence LovelleGeorge PenistonRichard Lewis

FLUTESSue Thomas* PrincipalEilidh Gillespie

PICCOLOStewart McIlwham* Principal

OBOESIan Hardwick PrincipalAngela Tennick

CLARINETSNicholas Carpenter PrincipalKatie Lockhart

BASSOONSGareth Newman* PrincipalSimon Estell

HORNSJohn Ryan PrincipalAbel Pereira Guest PrincipalMartin HobbsMarcus BatesGareth Mollison

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

PERCUSSIONRachel Gledhill PrincipalAndrew Barclay* Co-PrincipalChair supported byAndrew Davenport

Keith Millar

* Holds a professorialappointment in London

+ Chevalier of the Brazilian Order of Rio Branco

Chair SupportersThe London Philharmonic Orchestra also acknowledges the following chairsupporters whose player is not present at this concert:

Julian and Gill Simmonds

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London Philharmonic Orchestra | 3

VLADIMIR JUROWSKICONDUCTOR

Born in Moscow, the son of conductor Mikhail Jurowski,Vladimir Jurowski completed the first part of hismusical studies at the Music College of the MoscowConservatory. In 1990 he relocated with his family toGermany where he continued his studies in Dresdenand Berlin, studying conducting with Rolf Reuter andvocal coaching with Semion Skigin. In 1995 he made hisinternational debut at the Wexford Festival, where heconducted Rimsky-Korsakov’s May Night. The same yearsaw his brilliant debut at the Royal Opera House CoventGarden in Nabucco. In 1996 he joined the ensemble ofKomische Oper Berlin, becoming First Kapellmeister in1997 and continuing to work at the Komische Oper on apermanent basis until 2001.

Since 1997 Vladimir Jurowski has been a guest at someof the world’s leading musical institutions including theRoyal Opera House Covent Garden, Teatro La Fenice diVenezia, Opéra Bastille de Paris, Théâtre de la MonnaieBruxelles, Maggio Musicale Festival Florence, RossiniOpera Festival Pesaro, Edinburgh Festival, SemperoperDresden and the Teatro Comunale di Bologna (where heserved as Principal Guest Conductor between 2000 and2003). In 1999 he made his debut at the MetropolitanOpera New York with Rigoletto.

In January 2001 Vladimir Jurowski took up the positionof Music Director of Glyndebourne Festival Opera and in2003 was appointed Principal Guest Conductor of theLondon Philharmonic Orchestra, becoming theOrchestra’s Principal Conductor in September 2007. Healso holds the title of Principal Artist of the Orchestra ofthe Age of Enlightenment, and from 2005 to 2009served as Principal Guest Conductor of the RussianNational Orchestra with whom he will continue to workin the years ahead.

Vladimir Jurowski is a regular guest with many of theworld’s leading orchestras including the BerlinPhilharmonic, Oslo Philharmonic, Royal Concertgebouw,Bavarian Radio Symphony, Dresden Staatskapelle, LosAngeles Philharmonic and Philadelphia Orchestras aswell as the Gewandhausorchester Leipzig. Highlights ofthe 2010/11 season and beyond include his debuts withthe Vienna Philharmonic, Cleveland, San FranciscoSymphony and Mahler Chamber Orchestras, and returnvisits to the Chicago Symphony, Chamber Orchestra ofEurope, Berlin Philharmonic, Royal Concertgebouw, StPetersburg Philharmonic and Philadelphia Orchestras.

His operatic engagements have included Jenůfa, TheQueen of Spades and Hänsel und Gretel at theMetropolitan Opera, Parsifal and Wozzeck at WelshNational Opera, War and Peace at the Opéra National deParis, Eugene Onegin at La Scala Milan, as well as DieZauberflöte, La Cenerentola, Otello, Macbeth, Falstaff,Tristan und Isolde, Don Giovanni, The Rake’s Progress andPeter Eötvös’ Love and Other Demons at GlyndebourneOpera. Future engagements include new productions ofDie Meistersinger and The Cunning Little Vixen atGlyndebourne, Die Frau ohne Schatten at theMetropolitan Opera, Russlan and Ludmila at the BolshoiTheatre, and Iolanta at the Dresden Semperoper.

Jurowski’s discography includes the first ever recordingof Giya Kancheli’s cantata Exil for ECM (1994), L’Étoile duNord by Meyerbeer for Naxos-Marco Polo (1996), andWerther for BMG (1999) as well as live recordings ofworks by Rachmaninov, Turnage, Tchaikovsky, Britten,Brahms and Shostakovich on the London PhilharmonicOrchestra’s own label, and Prokofiev’s Betrothal in aMonastery on Glyndebourne Opera’s own label. He alsorecords for PentaTone with the Russian NationalOrchestra, with releases to date including Tchaikovsky’sSuite No. 3 and Stravinsky’s Divertimento from Le Baiserde la fée, Shostakovich’s Symphonies Nos 1 and 6,Prokofiev’s Symphony No. 5 and Tchaikovsky’s HamletIncidental Music. Glyndebourne have released DVDrecordings of his performances of La Cenerentola, GianniSchicchi, Die Fledermaus and Rachmaninov’s The MiserlyKnight, and other recent DVD releases include Hänselund Gretel from the Metropolitan Opera New York, andhis first concert as the London Philharmonic Orchestra’sPrincipal Conductor featuring works by Wagner, Bergand Mahler (released by Medici Arts).

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ALON GOLDSTEINPIANO

Alon Goldstein is one of the most original and sensitiveartists of his generation, admired for his musicalintelligence and dynamic personality. He made hisorchestral debut at the age of 18 with the IsraelPhilharmonic and Zubin Mehta, and in April 2008 madea triumphant return with Herbert Blomstedt. In recentseasons he has performed with the Los AngelesPhilharmonic, Philadelphia and Rhode IslandPhilharmonic Orchestras as well as with the symphonyorchestras of San Francisco, Baltimore, St Louis,Houston, Vancouver, Kansas City and North Carolina.

His 2010/11 orchestral season includes his debut todaywith the London Philharmonic Orchestra and VladimirJurowski, a return to the IRIS Orchestra for Saint-Saëns’Concerto No. 2 with Michael Stern, Tchaikovsky’sConcerto No. 1 with Jaime Laredo and the VermontSymphony, and Avner Dorman’s Lost Souls with theSanta Barbara Symphony under Nir Kabaretti. He can beheard in recital and chamber music concerts in Beijing,Guatamala City, Kent, Chicago, Los Angeles, CoralGables, Seattle, Minneapolis, Jerusalem,Tel Aviv andParis, among others.

A highlight of his 2009/10 season was giving two worldpremières: the Lost Souls piano concerto written for himby Israeli composer Avner Dorman with the Kansas CitySymphony and music director Michael Stern, and aconcerto by Mark Kopytman with Avner Biron and theJerusalem Camerata Orchestra. He also gaveperformances of Chopin’s Concerto No. 2 with theDelaware Symphony and Mozart’s Concerto K453 withthe Jerusalem Symphony.

In 2009/10 Alon gave recitals in Chicago, WashingtonDC and Henry Crown Symphony Hall in Israel. He was

featured at the Seattle Chamber Music Festivalperforming all three Schumann piano trios and gavechamber music concerts at the Jerusalem InternationalChamber Music Festival with principals from the BerlinPhilharmonic and violinist Nikolaj Znaider. In the2008/09 season, he made his Carnegie Hall debut in theMozart Triple Concerto alongside Joseph Kalichstein andShai Wosner. As an ardent chamber musician, Alon hascollaborated with violinist Jaime Laredo and cellistSharon Robinson, with the Tokyo String Quartet at the92nd Street Y in New York, in trio performances withcellist Amit Peled and violinist Ilya Kaler, and in recitalwith Amit Peled and clarinettist Alexander Fiterstein.

Alon Goldstein has appeared at the Gilmore, Santa Fe,Tanglewood, Ravinia, Marlboro and Seattle Festivals inthe United States as well as at Prussia Cove in England,the Verbier Festival in Switzerland and the KlavierFestival in Rühr, Germany. He has performed at theHollywood Bowl with the Los Angeles Philharmonic andat Millennium Park in Chicago with the Grant ParkSymphony Orchestra.

Alon was a Performance Fellow at the Guildhall Schoolof Music and Drama in London, where he initiated aninnovative chamber music series and organised annualfestivals devoted to the 4-hands piano repertoire. Laterhe spent two seasons as Artist-in-Residence at the TheoLieven International Piano Foundation at Lake Como,Italy, where he was able to enjoy private master classeswith world renowned musicians.

A winner of numerous competitions, among them theArianne Katcz Piano Competition in Tel Aviv, NenaWideman Competition in the US and the FrancoisShapira Competition in Israel, he is also the recipient ofthe 2004 Salon di Virtuosi Career Grant and the AmericaIsrael Cultural Foundation Scholarships. The PhillipsCollection in Washington DC chose a live recording ofone of Alon’s recitals there for its first CD release. Otherrecordings include solo recital programmes through theJerusalem Music Centre ‘Mishkenot Sha’ananim’ and theIsraeli Music Institute featuring works by Israelicomposers. Alon graduated from the PeabodyConservatory where he studied with Leon Fleisher andserved as his assistant.

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Haydn was especially pressed for time in the 1770sbecause he had to satisfy his princely employer’spassion for opera and still maintain a supply of newsymphonies. So it is no surprise that he recycled someof his compositions for this symphony, which exists intwo substantially different versions. We shall hear thefirst version, which dates from 1777 or soon after.

The first movement is a symphonic adaptation of theoverture to Haydn’s opera Il mondo della luna (TheWorld of the Moon). It makes a particularly arrestingeffect on account of the bright key of C major and inthis version the bold deployment of two trumpets andtimpani to emphasise the sharp dynamic contrasts. Themain group of themes is in three parts, of which onlythe third returns in the recapitulation.

It was probably in 1777 that a theatrical troupeperformed Charles Simon Favart’s 1761 play The ThreeSultans in the Prince’s theatre at Esterháza. One of thecharacters was the historical Roxelane, the 16th-century

Circassian slave who became the favourite concubine ofthe Sultan of the Ottoman Empire, Suleiman theMagnificent. She not only persuaded him to dismiss therest of the 300 women in his harem but also turned himagainst his son and heir so that her own son mightsucceed to the throne. Haydn composed incidentalmusic for the play, and adapted an entr’acte from it toprovide the second movement of the symphony. It takesthe form of a double set of variations bearing the nameof that remarkable lady and alternating between thekeys of C minor and C major. A flute is added to theorchestra in this movement only, and for the firsthundred bars the violins are muted.

A neat Allegrettominuet and trio follow with muchalternation between piano and forte in the former. Thesymphony ends with a dashing Prestissimo based on afragment that Haydn had had on hand for some time.

© Eric Mason

PROGRAMME NOTES

SYMPHONY NO. 63 IN C (LA ROXELANE)

Allegro | La Roxelane: Allegretto (o più tosto allegro) | Menuet e trio: Allegretto | Finale: Prestissimo

JosephHAYDN

1732-1809

SPEEDREAD

We start this afternoon with one of the boldest andbrightest of Haydn’s middle-period symphonies. The firstof its four movements is based on the overture to one ofhis operas. The second movement is a set of variationsthat originally formed part of incidental music to a playabout Roxelane, the slave girl who became the favouriteconcubine of a 16th-century sultan of the OttomanEmpire.

Mendelssohn was only 22 years old when the King andQueen of Bavaria attended a Munich concert of hismusic. The composer appeared as both conductor andsolo pianist, and the première of his First Piano Concerto

earned him a big success. The first and last of the threelinked movements are full of the joie de vivre he enjoyedat that time. Between them comes a delicate Andantewith a song-like theme.

Tchaikovsky considered in his Fourth Symphony how lifealternates ‘between grim reality and fleeting dreams ofhappiness’. Fate intrudes upon waltz-time longings in thefirst of the four movements. Wistful memories occupythe second movement, which is followed by a novelthree-part scherzo. The boisterous finale is based on aRussian folksong; ‘rejoice in the joy of others and life isbearable after all’.

© Eric Mason

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PROGRAMME NOTES

Mendelssohn’s early-flowering genius as a composerand his virtuosity as a pianist together quickly earnedhim a considerable international reputation. He was stillonly 22 years old when – on 17 October 1831 – heappeared as conductor and soloist at a Munich concertof his works attended by the King and Queen of Bavaria.The programme consisted of the overture to AMidsummer Night’s Dream, the First Symphony and thefirst performance of this concerto. In the last part of the concert, as the composer reported in a letter next day, ‘Icame to my piano concerto and met with a long andvivid reception. After my playing they tried to call meback and applauded, but I was modest and did notappear again.’ The concerto was just as successfulelsewhere, and many pianists gratefully took it intotheir repertoires.

Unlike the Italian Symphony and the later ViolinConcerto, both of which cost Mendelssohn much labourto perfect, the G minor Piano Concerto came easily tohim. It was, he said, ‘a thing quickly thrown off’. Hededicated it to Delphine von Schauroth, a young Munichpianist who, he admitted, had actually composed oneeffective passage in it. Not that Mendelssohn neededassistance; although this concerto is labelled as his first,he had composed several for one and two pianos in histeens. We cannot look to this one for searchingprofundity, but it is a thoroughly enjoyable workreflecting the young composer’s enjoyment of his life atthat moment, and it embodies some interesting formalnovelties. There is no orchestral exposition to precedethe soloist’s entry, the three movements are linkedtogether and themes from the first reappear in the last.

A short orchestral crescendo heralds the soloist, whoenters with a showy declamation in double octaves andthen introduces the first subject proper. The orchestratakes up the theme, and the piano, as if objecting tobeing ignored, roars out some octave scales in the bass.

This subdues the orchestra, and the piano has a dozenor so brilliant bars before proceeding to the tranquilsecond subject, first in the related key of B flat and thenin the more expansive D flat. Mendelssohn dispenseswith the customary rounding off of this exposition andmoves on to the development, which is mainlyconcerned with the second subject and a plungingoctave from the piano’s first outburst. The reappearanceof the orchestra’s original crescendo signals therecapitulation, which is very short, and a fiery codafollows. When this seems to be approaching a normalclose, the horns and trumpets take up the rhythm witha fanfare on B natural, enabling the piano to modulatequietly into the key of E for the Andante.

In this restful, delicately scored movement the orchestrais reduced to two flutes, bassoon, horn and dividedstrings, and the violins are not employed until near theend. The song-like theme is given out by the cellosbefore passing to the soloist for repetition andelaboration, supported at the last by a soft shimmerfrom violins in four parts.

Again there is no break between movements. The hornsand trumpets sound their fanfare, now on E, and anagitated orchestral passage follows. But the pianistenters brightly in the key of G major and, after a displayof arpeggios, introduces the finale’s cheerful maintheme. Although there is a subsidiary subject,Mendelssohn maintains a happy momentum withoutbothering much about formal development. Towardsthe end the orchestra reminds us of the piano’s octavedeclamation at the beginning of the concerto, and thepianist briefly recalls the first movement’s secondsubject, a simple way of giving the concerto extracohesion.

© Eric Mason

CONCERTO NO. 1 IN G MINOR FOR PIANO AND ORCHESTRA, OP. 25

ALON GOLDSTEIN piano

Molto allegro con fuoco – | Andante – | Presto – Moltoallegro e vivace

FelixMENDELSSOHN

1809-1847

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PROGRAMME NOTES

For two unconnected reasons 1877 was a fateful year inTchaikovsky’s life. First, it was the year in which hisfriendship with Nadezhda von Meck, the wealthybenefactress whom by mutual agreement he neverintentionally met, ripened. Tchaikovsky wrote to her inMay that he had been at work since the winter on asymphony, and by early June he was able to tell her thatthe four movements were complete except fororchestration. She accepted the dedication ‘To my bestfriend’ on condition that her name was not specified.

At this time Tchaikovsky became engrossed incomposing his opera Eugene Onegin, and the Pushkinstory was a powerful factor in persuading him into aloveless marriage that July to a young woman he hardlyknew. Within two months he was brought to a nervousbreakdown and attempted suicide, and not untilDecember was he sufficiently recovered to tackle theorchestration of the symphony. He worked at this inVenice and completed the task in San Remo early in the New Year.

The first performance took place in Moscow on 22 February 1878 under Nicholas Rubinstein, but it wasill-prepared and made little impression. The StPetersburg première in November under EduardNapravnik was a success, but the symphony did notbecome popular in Russia during the composer’slifetime. He himself, often a prey to self-doubt, thoughtthe symphony the best he had so far composed. ‘I

believe’, he said, ‘that I have written music whichcannot fall into oblivion.’

Thanks to his correspondence with Mrs von Meck wehave a detailed account of the programme underlyingthe Fourth Symphony. The sinister brass fanfare thatopens and dominates the first movement representsFate, Tchaikovsky wrote, ‘the force that prevents us fromever attaining complete happiness...It can never beovercome. One can only submit to it and take refuge infutile longings.’ The main part of the movement,marked ‘in waltz time’, begins with such longings, expressed by a syncopated melody that becomesincreasingly agitated and rises to a despairing climax.Clarinet and bassoon exchanges lead to the secondsubject on clarinet – ‘Would it not be better to turnaway from reality and plunge oneself in dreams?’ Flutesand oboes take up this theme over a cello counter-melody which soon becomes a swaying major-keytheme for the violins against soft drum-taps, answeredby a major version of the syncopated melody onwoodwind – ‘Some luminous human form passes byand beckons. All that was dark and joyless is forgotten.’

Happiness does not last; the agitation returns and theFate motive reappears to open the development section,which is almost exclusively concerned with the firstsubject and the ever more insistent Fate. ‘Thus thewhole of life’, wrote Tchaikovsky, ‘is a continualalternation between grim reality and fleeting dreams of

SYMPHONY NO. 4 IN F MINOR, OP. 36

Andante sostenuto – Moderato con anima | Andantino in modo di Canzona | Scherzo: Allegro | Finale: Allegrocon fuoco

INTERVAL 20 minutesA bell will be rung 3, 2 and 1 minute before the end of the interval.

Peter IlyichTCHAIKOVSKY

1840-1893

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PROGRAMME NOTES

happiness.’ The recapitulation recalls the themes inunorthodox D minor, and there is a long coda endingwith the first subject.

The second movement, in B flat minor, expresses the‘melancholy which steals over us when, at evening, wesit indoors alone, weary of work ... A long procession ofmemories goes by. How sad to think how much isalready past! And yet these recollections of youth aresweet.’ A solo oboe plays a plaintive, folk-like tune withpizzicato string accompaniment. The cellos take it overand this brings an answering melody, after which bothideas are repeated in different scoring. The faster centralepisode in F major has another folk-like tune, introducedby clarinets and bassoons. When the original themesreturn, they are presented in still more varied dress andwith charming ornaments.

Tchaikovsky had high hopes that the novel scherzowould please. It is in three sections, the first being forpizzicato strings and representing ‘fleeting images thatcome into a man’s head when he has been drinking’.The trio section is for woodwind (suggested by peasants

on the spree and a street song) and brass (a distantmilitary brand), after which the three sections of theorchestra join forces in a brilliantly conceived andexecuted recapitulation.

For the main theme of the finale Tchaikovsky borroweda Russian folksong, In the field there stood a birch tree,which is introduced by the woodwind after two noisyintroductory flourishes. A further statement of theflourishes announces the second theme, a jolly march-like tune for full orchestra. The intention is to suggest arustic holiday with its attendant merrymaking. ‘If youcannot find reason for happiness in yourself ... get outamong the people. See what a good time they have.’There follow two groups of variations on the folksong,divided by the second theme. The last variation isinterrupted by the sudden return of the Fate theme.This time, however, it does not dampen spirits for long,and the symphony ends in a merry mood. ‘Simple,unspoiled happiness does exist. Rejoice in the joy ofothers and life is bearable after all.’

© Eric Mason

RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. CDs may alsobe purchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 0207840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

LPO-0039 Vladimir Jurowski conducts Tchaikovsky’s Symphonies Nos 1 and 6

‘Both are exceptional performances, superbly recorded with a breathtaking range ofdynamics … In both works, the playing of the LPO is world class.’ANDREW CLEMENTS, THE GUARDIAN, 4 SEPTEMBER 2009

LPO-0009 Vladimir Jurowski conducts Tchaikovsky’s Manfred Symphony

‘... it is a wonderfully vivid recording of an exceptionally vibrant, immaculately playedperformance ... a superb disc.’THE GUARDIAN, 2 JUNE 2006

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CONGRESS THEATRE, EASTBOURNEARTISTIC DIRECTOR CHRIS JORDANGENERAL MANAGER GAVIN DAVIS

WELCOME TO THE CONGRESS THEATRE

Welcome to this afternoon’s performance by the London Philharmonic Orchestra. We hope you enjoy the concertand your visit here. As a courtesy to others, please ensure all pagers, mobile phones or watches with alarms areswitched off during the performance. Thank you.

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

We welcome comments from our customers. Should you wish to contribute, please speak to the house manager onduty or write to Suzanne Hopp, Marketing Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex,BN21 4BP.

FUTURE CONCERTS

Sunday 17 April 2011 | 3.00pm

Schubert Overture, RosamundeBrahms Violin ConcertoTchaikovsky Symphony No. 6 (Pathétique)

Wilson Hermanto conductorJennifer Pike violin

Sunday 5 June 2011 | 3.00pm

Wagner Overture, The MastersingersTchaikovsky Violin ConcertoWeber Overture, OberonSchumann Symphony No. 3

Perry So conductorValeriy Sokolov violin

TO BOOKCall the Ticket Office on 01323 412000

Credit Card Hotline 01323 411555

On-line bookingwww.eastbournetheatres.co.uk

Tickets £12 | £19 | £22 | £24Premium Seats £28

Wilson Hermantoand Jennifer Pike

Perry So and ValeriySokolov

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Seventy-eight 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 illustrious musician to another, amongst themSir Adrian Boult, Bernard Haitink, Sir Georg Solti, KlausTennstedt and Kurt Masur. This impressive traditioncontinued in 2007 when Vladimir Jurowski became theOrchestra’s Principal Conductor and, in a further excitingmove, the Orchestra appointed Yannick Nézet-Séguin itsnew Principal Guest Conductor from September 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 with many of theworld’s most sought after conductors and soloists. Inaddition to its London season and a series of concerts atWigmore Hall, the Orchestra has flourishing residenciesin Brighton and Eastbourne, and performs regularlyaround the UK. It is unique in combining these concertactivities with esteemed opera performances eachsummer at Glyndebourne Festival Opera where it hasbeen the Resident Symphony Orchestra 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 made the first ever visit to China by aWestern orchestra. Touring continues to form a

significant part of the Orchestra’s schedule and issupported by Aviva, the International Touring Partner ofthe London Philharmonic Orchestra. Tours in 2010/11include visits to Finland, Germany, South Korea, Spain,France, Belgium and Luxembourg.

Having long been embraced by the recording,broadcasting and film industries, the LondonPhilharmonic Orchestra broadcasts regularly on domesticand international television and radio. It also works withthe Hollywood and UK film industries, recordingsoundtracks for blockbuster motion pictures includingthe Oscar-winning score for The Lord of the Rings trilogy.

The London Philharmonic Orchestra made its firstrecordings on 10 October 1932, just three days after itsfirst public performance. It has recorded and broadcastregularly ever since, and in 2005 established its ownrecord label. The recordings on its own label are takenmainly from live concerts given with distinguishedconductors over the years including the Orchestra’sPrincipal Conductors from Beecham and Boult, throughHaitink, Solti and Tennstedt, to Masur and Jurowski.

The Orchestra reaches thousands of Londoners throughits rich programme of community and school-basedactivity in Lambeth, Lewisham and Southwark, whichincludes the offshoot ensembles The Band, its FoyleFuture Firsts apprenticeship scheme for outstandingyoung instrumentalists, and regular family and schoolsconcerts.

2010/11 Eastbourne Appeal

The London Philharmonic Orchestra is proud to have been resident at the Congress Theatre in Eastbourne forthe last 14 years. Today’s concert, generously supported by donors to the 2010/11 Eastbourne Appeal, isparticularly special as it is Principal Conductor Vladimir Jurowski’s first appearance at the Congress Theatre. Weare always delighted by the generosity and welcome of our audiences in Eastbourne and we are extremelygrateful to those who have already donated to this year’s appeal. All funds raised will go directly towardshelping the London Philharmonic Orchestra maintain the level of excellence that allows it to be recognised asone of the world’s great symphony orchestras. In particular, your support will make the Eastbourne residencypossible and will help to secure its future in the difficult economic times ahead.

It is not too late to support the 2010/11 Eastbourne Appeal, which runs for the remainder of our Eastbourneseason. If you do feel able to contribute, we would be extremely grateful. Donations of any size make a realdifference to the financial stability of the Orchestra. To donate contact Elisenda Ayats at the Orchestra’s officeon 020 7840 4225 or at [email protected]. Thank you for your support of the Orchestra.

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

Thomas Beecham GroupMr & Mrs Richard & Victoria SharpJulian & Gill SimmondsThe Tsukanov Family

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

Guy & Utti Whittaker

Principal BenefactorsMark & Elizabeth AdamsJane AttiasLady Jane BerrillDesmond & Ruth CecilMr John H CookMrs Sonja DrexlerMr Charles DumasDavid EllenCommander Vincent Evans

Mr Daniel GoldsteinMrs Barbara GreenOliver HeatonMr & Mrs Jeffrey HerrmannPeter MacDonald EggersMr & Mrs David MalpasAndrew T MillsMr Maxwell MorrisonMr Michael PosenMr & Mrs Thierry SciardMr John Soderquist & Mr Costas

MichaelidesMr & Mrs G SteinMr & Mrs John C TuckerHoward & Sheelagh WatsonMr Laurie WattMr Anthony Yolland

BenefactorsMrs A BeareDr & Mrs Alan Carrington

CBE FRSMarika Cobbold & Michael

Patchett-JoyceMr & Mrs Stewart CohenMr Alistair CorbettMr David Edgecombe

Mr Richard FernyhoughKen FollettMichael & Christine HenryMr Glenn HurstfieldMr R K JehaMr & Mrs Maurice LambertMr Gerald LevinSheila Ashley LewisWg. Cdr. & Mrs M T Liddiard

OBE JP RAFMr Frank LimPaul & Brigitta LockMr Brian MarshJohn MontgomeryEdmund PirouetMr Peter TausigMrs Kazue TurnerLady Marina VaizeyMr D Whitelock

Hon. BenefactorElliott Bernerd

Hon. Life MembersKenneth GoodeMrs Jackie Rosenfeld OBE

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

Corporate MembersAppleyard & Trew llpAREVA UKBritish American BusinessBrown Brothers HarrimanCharles RussellDestination Québec – UKDiagonal ConsultingLazardLeventis OverseasMan Group plcQuébec Government Office in London

Corporate DonorLombard Street Research

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

Trusts and FoundationsAllianz Cultural FoundationThe Andor Charitable TrustArts and BusinessRuth Berkowitz Charitable TrustThe Boltini TrustBorletti-Buitoni TrustBritten-Pears FoundationThe Candide Charitable TrustThe John S Cohen FoundationThe Coutts Charitable TrustThe Dorset FoundationThe D’Oyly Carte Charitable TrustDunard FundThe Equitable Charitable TrustThe Eranda FoundationThe Ernest Cook TrustThe Fenton Arts TrustThe Foyle FoundationThe Jeniffer and Jonathan Harris

Charitable TrustCapital Radio’s Help a London ChildThe Idlewild TrustThe Emmanuel Kaye FoundationThe Leverhulme TrustLord and Lady Lurgan TrustMaurice Marks Charitable TrustThe Michael Marks Charitable Trust

Marsh Christian TrustUK Friends of the Felix-

Mendelssohn-BartholdyFoundation

The Mercers’ CompanyAdam Mickiewicz InstitutePaul Morgan Charitable TrustMaxwell Morrison Charitable TrustMusicians Benevolent FundThe R K Charitable TrustSerge Rachmaninoff FoundationThe Reed FoundationThe Rubin FoundationThe Seary Charitable TrustThe Samuel Sebba Charitable TrustSound ConnectionsThe Stansfield TrustThe Steel Charitable TrustThe Bernard Sunley Charitable

FoundationThe Swan TrustJohn Thaw FoundationThe Underwood TrustGarfield Weston FoundationYouth Music

and others who wish to remainanonymous.

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ADMINISTRATION

BOARD OF DIRECTORS

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

THE LONDON PHILHARMONIC TRUST

Pehr Gyllenhammar ChairmanDesmond Cecil CMGRichard Karl GoeltzJonathan Harris CBE FRICSDr Catherine C. HøgelMartin HöhmannAngela KesslerClive Marks OBE FCAVictoria SharpJulian SimmondsTimothy Walker AM †Laurence Watt

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

Crowe Clark Whitehill LLPAuditors

Dr Louise MillerHonorary Doctor

GENERAL ADMINISTRATION

Timothy Walker AM †Chief Executive and Artistic Director

Alison AtkinsonDigital Projects Manager

FINANCE

David BurkeGeneral Manager andFinance Director

David GreensladeFinance and IT Manager

CONCERT MANAGEMENT

Roanna ChandlerConcerts Director

Ruth SansomArtistic Administrator

Graham WoodConcerts, Recordings andGlyndebourne Manager

Alison JonesConcerts Co-ordinator

Jenny ChadwickTours and EngagementsManager

Jo OrrPA to the Executive / Concerts Assistant

Matthew FreemanRecordings Consultant

EDUCATION ANDCOMMUNITY PROGRAMME

Fiona LambertEducation and CommunityConsultant

Anne FindlayEducation Officer

Caz ValeCommunity Officer

Richard MallettEducation and Community Producer

ORCHESTRA PERSONNEL

Andrew CheneryOrchestra Personnel Manager

Sarah ThomasLibrarian

Michael PattisonStage Manager

Camilla BeggAssistant Orchestra PersonnelManager

Ken Graham TruckingInstrument Transportation(Tel: 01737 373305)

DEVELOPMENT

Nick JackmanDevelopment Director

Harriet MesherCharitable Giving Manager

Phoebe RouseCorporate Relations Manager

Melissa Van EmdenEvents Manager

Elisenda AyatsDevelopment and FinanceOfficer

MARKETING

Kath TroutMarketing Director

Ellie DragonettiMarketing Manager

Helen BoddyMarketing Co-ordinator

Frances CookPublications Manager

Samantha KendallBox Office Administrator(Tel: 020 7840 4242)

Ed WestonIntern

Valerie BarberPress Consultant(Tel: 020 7586 8560)

ARCHIVES

Edmund PirouetConsultant

Philip StuartDiscographer

Gillian PoleRecordings Archive


89 Albert Embankment London 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.

Photographs of Haydn,Mendelssohn and Tchaikovskycourtesy of the Royal Collegeof Music, London.

Photograph on the front cover by Karen Robinson.

Programmes printed by Cantate.

†Supported by Macquarie Group

57692 LPO 6 Mar 2011_57692 LPO 6 Mar 2011 25/02/2011 11:53

6 march 2011 lpo programme notes

Documents

cape townsymphony orchestra

moscowsrachmaninov hall

wigmore hall

g minor

f minor

trinity college ofmusic

duke of kent kgchief

theconcertgebouw inamsterdam