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

Chief Executive and Artistic Director TIMOThY WALKER AM

programme £2.50

Contents

2 Welcome 3 About the Orchestra 4 On stage5 Daniele Rustioni 6 Leonard Elschenbroich7 Leader 2013/14 Eastbourne Appeal8 Programme notes11 Supporters12 LPO administration

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

* supported by the Tsukanov Family Foundation and one anonymous donor

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

Brighton Dome, Concert hallSaturday 9 November 2013 | 7.30pm

Congress Theatre, EastbourneSunday 10 November 2013 | 3.00pm

DvořákCello Concerto (40’)

Interval

RossiniOverture, William Tell (12’)

Mendelssohn Symphony No. 4 (Italian) (26’)

Daniele Rustioniconductor

Leonard Elschenbroichcello

2 | London Philharmonic Orchestra

Saturday 9 November Sunday 10 November

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 9 November 2013 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.

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 17th 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 theatresmarketing@eastbourne.gov.uk or write to Liz Woodall, Marketing Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

London Philharmonic Orchestra | 3

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 orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people every year through activities for schools and local communities.

The Orchestra was founded by Sir Thomas Beecham in 1932, and since then its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the current Principal Conductor and Artistic Advisor, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor.

The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. 2013/14 highlights include a Britten centenary celebration with Vladimir Jurowski including the War Requiem and Peter Grimes; world premieres of James MacMillan’s Viola Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin; and a stellar array of soloists including Evelyn Glennie, Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Leonidas Kavakos, Julia Fischer, Emanuel Ax and Simon Trpčeski. Throughout the second half of 2013 the Orchestra continues its year-long collaboration with Southbank Centre in The Rest is Noise festival, exploring the influential works of the 20th century.

The London Philharmonic Orchestra enjoys flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for 50 years. The Orchestra also tours internationally, performing concerts to sell-out audiences worldwide. Highlights of the 2013/14 season include visits to the USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 70 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 1 and Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Vaughan Williams’s Symphonies Nos. 5 & 7 with Bernard Haitink; Mahler’s Das Lied von der Erde with Yannick Nézet-Séguin, Sarah Connolly and Toby Spence; and a disc of new works by the Orchestra’s Composer in Residence, Julian Anderson.

In summer 2012 the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics.

The London Philharmonic Orchestra is committed to inspiring the next generation through its BrightSparks schools’ concerts and FUNharmonics family concerts;

the Leverhulme Young Composers programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent

years, digital advances and social media have enabled the Orchestra to reach even more people across the globe: all its recordings are available to download from iTunes and, as well as a YouTube channel, iPhone app 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

The LPO are an orchestra on fire at the moment. Bachtrack.com2 October 2013, Royal Festival Hall: Britten centenary concert

4 | London Philharmonic Orchestra

On stage

First ViolinsPieter Schoeman* LeaderJi-Hyun Lee

Chair supported by Eric Tomsett

Katalin VarnagyChair supported by Sonja Drexler

Thomas EisnerMartin HöhmannGeoffrey Lynn

Chair supported by Caroline, Jamie & Zander Sharp

Robert PoolGrace LeeGalina TanneyCaroline FrenkelRobin WilsonAmanda SmithPeter Nall†Elizabeth Lamberton†

Second ViolinsJeongmin Kim PrincipalJoseph MaherKate Birchall

Chair supported by David & Victoria Graham Fuller

Fiona HighamNancy ElanKsenia BerezinaSioni WilliamsElizabeth BaldeyJohn DickinsonStephen RowlinsonSheila Law†Stephen Dinwoodie†

ViolasRobert Duncan PrincipalBenedetto PollaniEmmanuella ReiterKatherine LeekAlistair ScahillSarah MalcolmMiriam EiseleAnthony ByrneLaura Vallejo†Martin Fenn†

CellosFrancis Bucknall PrincipalElisabeth WiklanderDavid LaleSusanna RiddellHelen RathboneWilliam RoutledgeSibylle Hentschel†Orlando Jopling†

Double BassesTim Gibbs PrincipalGeorge PenistonKenneth KnussenTom WalleyCatherine Ricketts†Charlotte Kerbegian†

FlutesFrederic Sánchez

Guest PrincipalStewart McIlwham*

piccoloStewart McIlwham*

Principal

OboesGareth Hulse

Guest PrincipalOwen Dennis

Cor AnglaisSarah Harper

ClarinetsPeter Sparks

Guest PrincipalEmily Meredith

BassoonsGareth Newman*

PrincipalStuart Russell

hornsJohn Ryan* PrincipalMartin HobbsMark Vines Co-PrincipalGareth Mollison

TrumpetsPaul Beniston* PrincipalAnne McAneney*

Chair supported by Geoff & Meg Mann

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

John & Angela KesslerSimon RobeyThe Sharp FamilyJulian & Gill Simmonds

TrombonesMark Templeton*

PrincipalDavid Whitehouse

Bass TromboneBarry Clements

TubaLee Tsarmaklis* Principal

TimpaniSimon Carrington*

Principal

percussionAndrew Barclay* Principal

Chair supported by Andrew Davenport

Tom EdwardsKeith Millar

* Holds a professorial appointment in London

† 9 November concert only

London Philharmonic Orchestra | 5

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Daniele Rustioniconductor

Aged 30, Daniele Rustioni is one of the most exciting conductors of his generation. He recently won the Best Newcomer of the Year award at the 2013 International Opera Awards. He is the Music Director of the Teatro Petruzzelli in Bari, Italy, and Principal Guest

Conductor of the Orchestra della Toscana in Florence.

In March 2011 he made his debut at the Royal Opera House, Covent Garden, with Verdi’s Aida, and will return there this season. In October 2012 he made his debut at the Teatro alla Scala, Milan, with Puccini’s La bohème, and was immediately re-invited to conduct a new production of Verdi’s Un ballo in maschera in July 2013 to celebrate the composer’s 200th anniversary. Following this performance, The Times praised Daniele as ‘clearly another rising talent destined for big things’. Daniele Rustioni studied in Milan, graduating as organist, composer and pianist. He also studied conducting with Gilberto Serembe and continued at the Accademia Musicale Chigiana in Siena and the Royal Academy of Music in London. In 2007 Gianandrea Noseda became his main mentor and gave him the opportunity to make his debut with the Orchestra of the Teatro Regio di Torino. At the Royal Opera House, Covent Garden, Daniele received personal guidance on operatic repertoire from Music Director Antonio Pappano.

Daniele Rustioni regularly conducts at prestigious Italian opera houses including the Teatro Regio di Torino, La Fenice in Venice and the Maggio Musicale Fiorentino, as well as at festivals such as the Rossini Opera Festival. In the UK he has appeared at Opera North and Welsh National Opera, where he is currently engaged in a ‘Bel Canto Masters’ project including new productions of Donizetti’s Anna Bolena and Roberto Devereux.

Daniele Rustioni made his debut in the USA at the Glimmerglass Festival conducting Cherubini’s Medea, and returned for his debut with the Washington National Opera in March this year.

Future opera engagements include debuts at the Opéra National de Lyon with a new production of Verdi’s Simon Boccanegra; at the Bayerisches Staatsoper with Puccini’s Madam Butterfly; and at the Opernhaus Zurich.

Daniele’s recent recording activities include bass-baritone Erwin Schrott’s latest album, Arias, which was released last year by Sony Classical.

6 | London Philharmonic Orchestra

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Leonard Elschenbroichcello

Leonard Elschenbroich received the Leonard Bernstein Award at the opening concert of the 2009 Schleswig-Holstein Festival, following his performance of the Brahms Double Concerto with Anne-Sophie Mutter under the direction of Christoph

Eschenbach. The collaboration between conductor and cellist continued with Leonard’s London Philharmonic Orchestra debut at Royal Festival Hall in 2011, and resumes next June when he makes his debut with the National Symphony Orchestra in Washington DC.

Last year Leonard became a BBC Radio 3 New Generation Artist: a prestigious scheme offering a wide range of performance opportunities with all the BBC orchestras in concert and the studio, and in a number of high-profile recitals and chamber music series and festivals, many broadcast on BBC Radio 3. To date, Leonard has appeared as soloist with the BBC Symphony, BBC Philharmonic, BBC NOW and Ulster orchestras, with further engagements – including with the BBC Scottish Symphony Orchestra – taking place this season. In August 2013 he made his orchestral BBC Proms debut with the Royal Philharmonic Orchestra under Charles Dutoit.

In March 2014 Leonard will give the premiere of a new cello sonata by fellow New Generation Artist Mark Simpson at London’s Wigmore Hall. As a recitalist he also performs regularly at the Sage Gateshead, the Auditorium du Louvre in Paris, the Amsterdam Concertgebouw, and major festivals such as Verbier, Schleswig-Holstein, Cheltenham, Cork, Mecklenburg-Vorpommern, Kronberg, Lockenhaus and Rheingau.

Leonard has received invitations from such eminent conductors as Dmitri Kitajenko, Valery Gergiev, Semyon Bychkov and Manfred Honeck, and has performed with many of the world’s leading orchestras. Recent highlights include his debut at Vienna’s Musikverein with the Staatskapelle Dresden and Christoph Eschenbach, performances in China and Hong Kong,

and his debut in Tokyo with the Japan Philharmonic Orchestra under Alexander Lazarev, where he has just returned for a further concerto performance.

Leonard is a member of two distinguished piano trios: the Sitkovetsky Piano Trio, with whom he tours Australia this season, and the Benedetti, Elschenbroich and Grynyuk Piano Trio, with whom he performs throughout Europe and South America. He is currently the first Artist In Residence of the Bremen Philharmonic Society’s Chamber Music Season (2013–2016). In addition to performing, he will also curate a number of performances. Each season will also include one new commission: the first of these will be a piano trio by Arlene Sierra to be performed later this month.

In 2013 Leonard Elschenbroich released two major recordings: in May, his recital debut CD featuring the Rachmaninoff & Shostakovich sonatas with Alexei Grynyuk was released by Onyx Classics to an excellent 5-star reception from the press. Earlier in the year, he was invited to join the Gürzenich Orchestra under Dmitrij Kitajenko for its prestigious Tchaikovsky Series, and his performance of the Rococo Variations was included on one of the discs. Released internationally in January 2013, this recording also attracted warm praise from the critics.

Leonard Elschenbroich plays the 1693 ‘Leonard Rose’ cello made in Venice by Matteo Goffriller, on private loan. He currently lives in London.

London Philharmonic Orchestra | 7

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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

Pieter Schoemanleader

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.

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

London philharmonic Orchestra 2013/14 Eastbourne Appeal

As the London Philharmonic Orchestra’s 2013/14 season at Eastbourne gets underway with another year of superb programming and an extraordinary array of guest artists, it is with great anticipation that we welcome Ilyich Rivas to make his Eastbourne debut with the Orchestra on 9 March 2014.

Ilyich is the focus of this year’s Eastbourne Appeal. Despite being only 20 years old he has already held the post of Assistant Conductor with the London Philharmonic Orchestra under the mentorship of our Principal Conductor, Vladimir Jurowski. In this capacity, he had the unique opportunity to immerse himself in the Orchestra’s work alongside one of today’s finest conductors. His appearance with the Orchestra at the Congress Theatre on Sunday 9 March is one which will mark an exciting milestone in this young man’s career and continue the Orchestra’s tradition of showcasing emerging young talent.

Donations towards our Eastbourne Appeal help support exceptional young artists like Ilyich as well as securing our continued presence in Eastbourne for years to come. We are immensely grateful for the support Eastbourne patrons have shown over the years and as the 2013/14 season continues, we hope you will consider making a donation to the Orchestra.

To donate please visit lpo.org.uk/eastbourneappeal or contact Sarah Fletcher: 020 7840 4225 /sarah.fletcher@lpo.org.uk

8 | London Philharmonic Orchestra

Programme notes

In this concert we find a German in Italy and an Italian in Switzerland – both taking delight in recreating landscapes and human events in vividly evocative music. Mendelssohn’s ‘Italian’ Symphony is one of the freshest, most hauntingly atmospheric and irresistibly tuneful things he ever wrote. But it was nature and the lives of people within it – religious processions and wild peasant dances – that interested him more than the country’s famous architectural treasures. Rossini portrays the Alps in three strongly contrasted moods in his William

Tell Overture, in some of his most colourful and sensuously beautiful music, then rounds it off with a brilliant gallop with ringing fanfares and charging cavalry. Even if the title means nothing, you’ll recognise this music the moment you hear it. Before these joyous works comes what for many people is simply the greatest piece ever composed for the cello. Dvořák’s Cello Concerto is at once a wonderful lyrical outpouring and summation of his life’s experience as composer and man, culminating in a heart-rending memory of lost love.

Speedread

Few people are surprised today when a composer chooses to write a cello concerto. As the great examples by Dvořák, Elgar, Schumann, Walton and Shostakovich show, this noble, rich-toned, soulfully expressive and remarkably agile instrument makes a splendid concerto soloist. But when the Czech composer Antonín Dvořák wrote his Cello Concerto in 1894–5, even connoisseurs were surprised. When Johannes Brahms – composer of one the greatest violin concertos in the repertoire – first saw Dvořák’s score, he exclaimed, ‘Why on earth didn’t I know that one could write a cello concerto like this? If I had only known, I would have written one long ago!’ Actually there’s no reason why Brahms should have known: in his and Dvořák’s day the cello was rarely played well as a solo instrument. In fact the situation seems to have lasted for some time after Dvořák’s death. As late as 1939, the famous Manchester Guardian critic Neville Cardus complained of ‘the wasp-in-the-window effect which most times we have to put up with whenever a cellist gets to work’. But there is also the issue of balance. The cello may seem to have a

Programme notes

Cello Concerto in B minor, Op. 104

Leonard Elschenbroich cello

1 Allegro2 Adagio ma non troppo3 Allegro moderato

AntonínDvořák

1841–1904

powerful voice, but its lower notes in particular can easily be overwhelmed if the orchestral accompaniment is too rich and strong. But Dvořák copes superbly with this potential problem. Though he uses a relatively large orchestra, the cello soloist rarely has to contend with anything like its full force. There are loud, impressive orchestral tuttis, but in these passages the cellist is mostly silent. The result is that, given a reasonably strong player, every note of the cello part should be audible. That must have been one of the Concerto’s features that so impressed Brahms.

Beyond that, Brahms can hardly fail to have been impressed by Dvořák’s melodic writing. The Cello Concerto brims over with wonderful long tunes and characterful short motifs. Not all of these are initially identified with the cello. Like most concertos of the ‘classical’ era of Mozart and Beethoven, Dvořák begins the first movement with a long passage for orchestra alone. There is a darkly memorable theme for low woodwind at the start then, after the first big climax, a glorious long tune for solo horn. So when the cello

London Philharmonic Orchestra | 9

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

Overture, William TellGioachinoRossini

1792–1868

The final section of Rossini’s William Tell Overture – an almost cinematic melée of rapid trumpet fanfares and galloping hooves – is one of the few pieces of classical music that just about everybody knows. It used to be said that an ‘intellectual’ could be defined as ‘someone who can listen to the William Tell Overture without thinking of the Lone Ranger’, but as memories of that once hugely popular TV series fade, younger listeners may find themselves in the lucky position of being able to enjoy this glorious, colourful orchestral scene-setter on its own terms.

The Overture was written as a curtain-raiser to Rossini’s last and most ambitious opera, based on the exploits of the 14th-century Swiss freedom fighter and folk hero William Tell. But it is significantly longer and richer in drama and atmosphere than any of Rossini’s other popular overtures. It is laid out in four sections that follow each other without a break, depicting life in the Swiss Alps in four contrasting moods. Rossini’s romantic evocation of natural scenes, and the way he integrates them into a beautiful balanced, self-sufficient musical

drama so impressed his contemporary Hector Berlioz (not normally a fan of Rossini) that he summed up the Overture as ‘a symphony in four parts’.

The slow introduction depicts dawn in the mountains with an exquisite use of five solo cellos. Then rustlings on strings and staccato ‘raindrops’ on woodwind herald the arrival of a storm. The climax is a flurry of tearing strings, shrill woodwind and thunderous trombones. Eventually this subsides, and tentative birdsong on flute leads to a calm pastoral scene on the high Alpine meadows. A solo cor anglais pipes a ‘Ranz des vaches’ (‘Call to the Cows’) in dialogue, and finally in duet, with the birdlike flute. Then trumpets and horns cut through with the famous fanfare and the terrific final gallop begins. Rossini called this ‘March of the Swiss Soldiers’, but if this is a march, then the Swiss army must have been pretty lively on their feet – cavalry charges come much more readily to mind. In fact the Overture as a whole tells its story so vividly that there’s a real danger of it upstaging the opera that’s supposed to follow, and nowhere more so than in the brilliantly triumphant conclusion.

enters for the first time, it not only has to cope with Dvořák’s technical assault course, it also has to establish a claim to these themes for itself.

In the slow movement, the cellist’s powers as an instrumental singer are tested to the full. The first theme is relaxed and reflective, with strong suggestions of folksong. But this is interrupted by a darker minor-key central section. Here there is a definite autobiographical element. While Dvořák was working on the Concerto, he heard that his sister-in-law, Josefina Kaunitzova,

was seriously ill – in his youth Dvořák had been in love with her. Josefina was particularly fond of Dvořák’s song ‘Leave me alone’ (Op. 82 No. 1), and in this slow movement he has the cello quote its melody just after the first stern entry of the trombones and tuba. This same melody re-appears near the end of the finale – this time in response to the news of Josefina’s death. The finale’s opening march theme does return in triumph to end the Concerto, but that poignant reminiscence of lost love lingers in the memory – is this where the Concerto’s heart truly lies?

10 | London Philharmonic Orchestra

It was in November 1832, just after he had finished work on revising the Hebrides Overture, that Mendelssohn received a commission from the London Philharmonic Society to compose ‘a symphony, an overture and a vocal piece’ for a fee of one hundred guineas – quite a reasonable sum in those days. He had already begun work on a symphony – the one that was to become known as the ‘Italian’ – but it had been causing him a great deal of trouble, and he had expressed serious misgivings about it. It seems the commission was the stimulus he needed to resume his grapplings with the score and bring it to its final form. All of which is rather surprising, since the ‘Italian’ Symphony has remained one of Mendelssohn’s most enduringly popular and critically acclaimed pieces. It seems so full of vitality and freshness that one could almost imagine it writing itself – a sign of how well Mendelssohn’s artistry conceals the pains it cost him.

Mendelssohn had undertaken a tour of Italy in 1830–31, taking in Venice, Milan, Rome and Naples. In Rome he met Berlioz, and formed an instant liking for him (though not for his music). But his other impressions were still more mixed. He enjoyed the landscapes, but the architectural glories of classical antiquity bored him: ‘The sea lay between the islands, and the rocks, covered with vegetation, bent over it then just as they do now. These are the antiquities that interest me and are much more suggestive than crumbling masonry.’ And when he arrived in Naples he found himself pining for London: ‘That smoky nest is fated for ever to be my favourite residence.’ He was impressed by the funeral ceremonies for the recently deceased Pope Pius VIII, but the solemn Gregorian plainsong left him cold. So how much of vitality of the ‘Italian’ Symphony derives from Mendelssohn’s Italian experiences isn’t easy to say. But the dancing exuberance of the first movement readily conjures up images of sunlit carnival

Symphony No. 4 in A major, Op. 90 (Italian)

1 Allegro vivace2 Andante con moto3 Con moto moderato4 Salterello: Presto

FelixMendelssohn

1809–47

celebrations, and the remarkable slow movement – a slow, shadowy processional with hymn-like figures floating above a more mobile bass tread – does seem to have an imaginative connection with the Papal funeral rites. The sun returns in the elegant, minuet-like third movement, though the horn-calls in the central trio are more redolent of Mendelssohn’s incidental music for Shakespeare’s A Midsummer Night’s Dream. The title of the finale however – ‘Salterello’ – clearly refers to the wild, ‘leaping’ Italian folk dance, not easily distinguishable from the tarantella. This is music of wonderful abandoned rhythmic energy; unusually it remains in the minor key throughout – though a more joyous use of the minor mode is hard to imagine.

Programme notes © Stephen Johnson

Programme notes continued

London Philharmonic Orchestra | 11

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

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

Corporate Members

Silver: AREVA UKBritish American BusinessCarter Ruck Thomas Eggar LLP

Bronze: Lisa Bolgar Smith and Felix Appelbe of

Ambrose AppelbeAppleyard & Trew LLPBerkeley LawCharles RussellLeventis 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 TrustBorletti-Buitoni TrustBritten-Pears Foundation The Candide Trust The Ernest Cook TrustThe Coutts Charitable TrustThe D’Oyly Carte Charitable TrustDunard FundEmbassy of Spain, Office for Cultural

and Scientific AffairsThe Equitable Charitable Trust Fidelio Charitable TrustThe Foyle FoundationJ Paul Getty Junior Charitable TrustThe Jeniffer and Jonathan Harris

Charitable TrustThe Hobson Charity The Idlewild Trust Kirby Laing FoundationThe Leverhulme TrustMarsh Christian Trust

The Mayor of London’s Fund for YoungMusicians

Adam Mickiewicz Institute The Peter Minet TrustMaxwell Morrison Charitable TrustMusicians Benevolent FundThe Ann and Frederick O’Brien

Charitable TrustPalazzetto Bru Zane – Centre de musique

romantique françaisePRS for Music Foundation The R K Charitable TrustSerge Rachmaninoff Foundation The Samuel Sebba Charitable Trust The David Solomons Charitable TrustThe Bernard Sunley Charitable

FoundationJohn Thaw FoundationThe Tillett TrustSir Siegmund Warburg’s Voluntary

SettlementGarfield Weston Foundation The Barbara Whatmore Charitable TrustYouth Music

and others who wish to remainanonymous

Thomas Beecham GroupThe Tsukanov Family Foundation Anonymous

Simon Robey The Sharp FamilyJulian & Gill Simmonds

Garf & Gill CollinsAndrew Davenport Mrs Sonja DrexlerDavid & Victoria Graham FullerJohn & Angela KesslerMr & Mrs MakharinskyGeoff & Meg MannCaroline, Jamie & Zander SharpEric Tomsett

Guy & Utti Whittaker Manon Williams & John Antoniazzi

principal BenefactorsMark & Elizabeth AdamsJane AttiasLady Jane BerrillDesmond & Ruth CecilMr John H CookDavid Ellen

Commander Vincent Evans Mr Daniel GoldsteinDon Kelly & Ann WoodPeter MacDonald Eggers Mr & Mrs David MalpasMr Maxwell MorrisonMr Michael PosenMr & Mrs Thierry SciardMr & Mrs G SteinMr & Mrs John C TuckerMr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh WatsonMr Anthony Yolland BenefactorsMrs A BeareMrs Alan CarringtonMr & Mrs Stewart CohenMr Alistair Corbett William and Alex de WintonMr David EdgecombeMr Richard FernyhoughKen FollettMichael & Christine HenryMalcolm HerringIvan HurryMr Glenn Hurstfield

Mr R K JehaMr Gerald LevinSheila Ashley LewisWg. Cdr. & Mrs M T Liddiard OBE JP RAFMr Frank LimPaul & Brigitta LockMr Brian Marsh Andrew T MillsJohn Montgomery Mr & Mrs Andrew NeillEdmund Pirouet Professor John StuddMr Peter TausigMrs Kazue Turner Mr Laurie WattDes & Maggie WhitelockChristopher WilliamsBill Yoe hon. BenefactorElliott Bernerd hon. Life MembersKenneth Goode Carol Colburn Grigor CBE Pehr G GyllenhammarEdmund Pirouet Mrs Jackie Rosenfeld OBE

12 | London Philharmonic Orchestra

FSC_57678 LPO 14 January 2011 15/09/2011 12:30 Page 1

Administration

Board of Directors

Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman*

Vice-PresidentRichard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. HøgelMartin Höhmann* George Peniston* Sir Bernard RixKevin Rundell* Julian SimmondsMark Templeton*Natasha TsukanovaTimothy Walker AM Laurence Watt Dr Manon Williams

* Player-Director

Advisory Council

Victoria Sharp Chairman Christopher Aldren Richard Brass Sir Alan Collins KCVO CMG Lord David CurryAndrew Davenport Jonathan Dawson Christopher Fraser OBE Lord Hall of Birkenhead CBE Clive Marks OBE FCA Stewart McIlwham Baroness ShackletonLord Sharman of Redlynch OBE Martin SouthgateSir Philip ThomasChris VineyTimothy Walker AMElizabeth Winter

American Friends of the London philharmonic Orchestra, Inc.

Jenny Ireland Co-ChairmanWilliam A. Kerr Co-ChairmanKyung-Wha ChungPeter M. Felix CBE Alexandra JupinDr. Felisa B. KaplanJill Fine MainelliKristina McPhee Dr. Joseph MulvehillHarvey M. Spear, Esq.Danny Lopez Hon. ChairmanNoel Kilkenny Hon. DirectorVictoria Sharp Hon. Director

Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA,

EisnerAmper LLP

Chief Executive

Timothy Walker AM Chief Executive and Artistic Director

Finance

David BurkeGeneral Manager andFinance Director

David GreensladeFinance and IT Manager

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 CotterPA to the Chief Executive / Tours Co-ordinator

Matthew Freeman Recordings Consultant

Education and Community

Patrick BaileyEducation and Community Director

Alexandra ClarkeEducation and Community Project Manager

Lucy DuffyEducation and Community Project Manager

Richard MallettEducation and Community Producer

Orchestra personnel

Andrew CheneryOrchestra Personnel Manager

Sarah ThomasLibrarian (maternity leave)

Sarah HolmesLibrarian (maternity cover)

Christopher AldertonStage Manager

Brian HartTransport Manager

Julia BoonAssistant Orchestra Personnel Manager

Development

Nick JackmanDevelopment Director

Helen Searl Corporate Relations Manager

Katherine HattersleyCharitable Giving Manager

Melissa Van EmdenEvents Manager

Sarah Fletcher Development and Finance Officer

Rebecca FoggDevelopment Assistant

Marketing

Kath TroutMarketing Director

Mia RobertsMarketing Manager

Rachel WilliamsPublications Manager

Samantha KendallBox Office Manager(Tel: 020 7840 4242)

Libby Northcote-GreenMarketing Co-ordinator

Lily OramIntern

Digital projects

Alison Atkinson Digital Projects Manager

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 4200Fax: 020 7840 4201Box Office: 020 7840 4242Email: admin@lpo.org.uklpo.org.uk

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

Photographs of Dvořák and Mendelssohn courtesy of the Royal College of Music, London.Front cover photograph © Patrick Harrison.

Printed by Cantate.