Download - 28 march brighton lpo web
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 SchOEMAn†Composer in Residence MAgnUS LInDbERgPatron hRh thE DUKE OF KEnt Kg
Chief Executive and Artistic Director tIMOthY WALKER AM
Programme £2.50
contents
2 Welcome3 On stage 4 About the Orchestra5 Leader: Pieter Schoeman6 Jaime Martín7 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 Martín 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 afternoon’s 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 [email protected] 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 HöhmannGeoffrey 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 Carvalho†David 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 Böhling* 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 world’s 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 world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. From September 2015 Andrés Orozco-Estrada will take up the position of Principal Guest Conductor. Magnus Lindberg is the Orchestra’s current Composer in Residence.
The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since the Hall’s opening in 1951 and been Resident Orchestra since 1992. It gives around 30 concerts there each season with many of the world’s 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 composer’s major orchestral masterpieces; premieres of works by Harrison Birtwistle, Julian Anderson, Colin Matthews, James Horner and the Orchestra’s new Composer in Residence, Magnus Lindberg; and appearances by many of today’s most sought-after artists including Maria João Pires, Christoph Eschenbach, Yannick Nézet-Séguin, Osmo Vänskä, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labèque 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 Orchestra’s 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-Saëns with Yannick Nézet-Séguin; Strauss’s Don Juan and Ein Heldenleben with Bernard Haitink; Shostakovich’s Symphonies Nos. 6 & 14 and Zemlinsky’s A Florentine Tragedy with Vladimir Jurowski; and Orff’s Carmina Burana with Hans Graf. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s 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, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall.
As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.
In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has 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. Pieter’s 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 Mozart’s 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 Martínconductor
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Jaime Martín 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 Gävle Symphony Orchestra in September 2013 and, more recently, has been designated the Principal Guest Conductor of the Orquesta Sinfónica de Castilla y León. He is also Chief Conductor of the Orquestra de Cadaqués 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 Martín 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.
Jaime’s recordings include Schubert’s Symphony No. 9 and Beethoven’s Symphony No. 3 ‘Eroica’, with the Orquestra de Cadaqués, 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 Tritó label and received critical
Jaime Martín’s 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 Dutilleux’s 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.
Andreas’s 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-Saëns 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 BBC’s New Generation Artist scheme.
He plays the ‘Boni-Hegar’ Stradivarius from 1707, kindly lent to him by the Norwegian Art Collector Christen Sveaas.
This weekend’s performances of Elgar’s Cello Concerto mark his debut with the London Philharmonic Orchestra.
andreasbrantelid.com
Read an interview with String Visions where Andreas reveals how he didn’t always listen to his dad’s 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-Korsakov’s even more vivid Scheherazade evokes the tableaux of One Thousand and One Nights, describing the moment when the eponymous
Sultana’s storytelling skills quell her husband’s lust for murder. Between these two dazzling Russian works, Elgar’s 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-cross’d lovers’ who ‘take their life’ in William Shakespeare’s 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
1840–93
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 più lento – Adagio
EdwardElgar
1857–1934
On 24 May 1919, Henry Cope Colles, chief music critic of The Times and editor of the third and fourth editions of Grove’s 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. ‘Elgar’s 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 Elgar’s next work: his Cello Concerto.
Its predecessor, the Violin Concerto, first performed by Fritz Kreisler under the composer at the Queen’s
Hall on 10 November 1910, had been one of Elgar’s most successful works. Passionate and brave, ‘the Concerto,’ as Elgar’s 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 Elgar’s 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 work’s 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 Concerto’s 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 Adagio’s 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 music’s ‘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.
Elgar’s 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 England’s great composer
Set in the beautiful countryside of Worcestershire is the museum
dedicated to the life and times of England’s 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
Open every day 11am - 5pm
Recommended recordings of today’s works
tchaikovsky: Romeo and JulietSt Petersburg Philharmonic / Vladimir Ashkenazy [Decca]
Elgar: cello concertoJacqueline du Pré / 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 Sinbad’s 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
1844–1908
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 Borodin’s In Central Asia, the Arabian Dance in Tchaikovsky’s The Nutcracker and Rimsky-Korsakov’s 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 Borodin’s 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 Mendelssohn’s A Midsummer Night’s Dream, we hear Scheherazade’s own beguiling motif, played by a solo violin and harp. There follows
a steady but sweeping barcarolle describing ‘The Sea and Sinbad’s Ship’ of her first tale. The melody, full of chromatic inflections, develops freely over the course of the ensuing sections, in which Scheherazade’s storytelling theme is also a prominent feature.
The second movement heralds another story, introduced once more by the Sultana. She recites a fakir’s 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 Kachtcheï in Stravinsky’s 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 Sultan’s booming bass motif and Scheherazade’s 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, Scheherazade’s charms overwhelm the Sultan’s 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, Andrés Orozco-Estrada, returns to Brighton on 27 February, and international classical guitar phenomenon, Miloš Karadaglić joins us on 16 April with a rare performance of Castelnuovo-Tedesco’s 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 Strauss’s Macbeth on 27 February and excerpts from Prokofiev’s 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 Bruckner’s mighty Symphony No. 3, performed by the Orchestra under the renowned Bruckner specialist, Stanisław 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 lifetime’s 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 Orchestra’s 2014/15 season at Eastbourne, it is with great anticipation that we welcome cellist Andreas Brantelid (today’s 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 [email protected]
London Philharmonic Orchestra | 13
Introducing the London Philharmonic Orchestra’s 2015/16 season at Brighton Dome. Tickets on sale now!
Saturday 14 November | 7.30pmFauré Suite, Pelléas et MélisandeRavel 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 Ćirić piano
Saturday 27 February | 7.30pmR Strauss MacbethKhachaturian Violin ConcertoStravinsky Firebird Suite (1945 version)
Andrés Orozco-Estrada conductorKristóf Baráti 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 Martín conductorMiloš Karadaglić guitar
BOOK NOW01273 709709brightondome.org
Season discounts of up to 20% available!
Martin Höhmann 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 & Sprüngli LtdSipsmith Steinway Villa Maria
In-kind SponsorsGoogle IncSela / Tilley’s 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 D’Oyly 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 London’s Fund for Young
MusiciansAdam Mickiewicz Institute The Peter Minet TrustThe Ann and Frederick O’Brien
Charitable Trust
Office for Cultural and Scientific Affairs ofthe Embassy of Spain in London
Palazzetto Bru Zane – Centre de musiqueromantique française
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-Möst 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 Høgel & 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. HøgelMartin Höhmann* 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: [email protected]
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.
