15 December 2010 LPO Programme notes

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALLWednesday 15 December 2010 | 7.30pm

JUKKA-PEKKA SARASTEconductor

FRANK PETER ZIMMERMANNviolin

BEETHOVEN Overture, Egmont (8’)

MARTINŮViolin Concerto No. 2 (27’)

INTERVAL

JULIAN ANDERSONThe Stations of the Sun (17’)

NIELSENSymphony No. 5 (35’)

The performance of The Stations of the Sun is generously supported by The Boltini Trust.

PROGRAMME £3

CONTENTS

2 List of Players3 Orchestra History4 Leader5 Jukka-Pekka Saraste6 Frank Peter Zimmermann7 Programme Notes11 Southbank Centre12 Recordings13 Supporters14 Annual Appeal15 Administration16 Future Concerts

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

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

56307 LPO 15 December 10_56307 LPO 15 December 10 08/12/2010 13:01 Page 1

2 | London Philharmonic Orchestra

LONDON PHILHARMONIC ORCHESTRA

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

Julia RumleyKatalin VarnagyCatherine CraigThomas EisnerTina GruenbergMartin HöhmannChair supported byRichard Karl Goeltz

Geoffrey LynnRobert PoolFlorence SchoemanSarah StreatfeildRebecca ShorrockPeter NallGalina TanneyJoanne Chen

SECOND VIOLINSJeongmin Kim PrincipalJoseph MaherKate BirchallChair supported by David and Victoria Graham Fuller

Nancy ElanFiona HighamMarie-Anne MairesseAshley StevensImogen WilliamsonSioni WilliamsHeather BadkeAlison StrangePeter GrahamMila MustakovaElizabeth Baldey

VIOLASTom Dunn Guest PrincipalKatharine LeekBenedetto PollaniEmmanuella Reiter-BootimanLaura VallejoMichelle BruilAlistair ScahillDaniel CornfordIsabel PereiraMartin FennSarah MalcolmRebecca Carrington

CELLOSSusanne Beer PrincipalFrancis BucknallLaura DonoghueGregory WalmsleySue SutherleySusanna RiddellHelen RathboneEmma BlackPavlos CarvalhoRosie Banks

DOUBLE BASSESTim Gibbs PrincipalLaurence LovelleGeorge PenistonRichard LewisRoger LinleyKenneth KnussenTom WalleyJoe Melvin

FLUTESJaime Martin* PrincipalSusan Thomas*Stewart McIlwham*

PICCOLOSStewart McIlwham* PrincipalSusan Thomas*

OBOESIan Hardwick PrincipalAngela TennickOwen Dennis

COR ANGLAISOwen Dennis Guest Principal

CLARINETSRobert Hill* PrincipalEmily MeredithPaul Richards

BASS CLARINETPaul Richards Principal

BASSOONSJohn Price PrincipalGareth Newman*Simon Estell

CONTRA BASSOONSimon Estell Principal

HORNSJohn Ryan PrincipalMartin HobbsGareth MollisonRichard BaylissNicolas Wolmark

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

Nicholas Betts Co-Principal

TROMBONESMark Templeton* PrincipalDavid Whitehouse

BASS TROMBONELyndon Meredith Principal

TUBALee Tsarmaklis Principal

TIMPANISimon Carrington* Principal

PERCUSSIONRachel Gledhill PrincipalAndrew Barclay* Co-PrincipalChair supported byAndrew Davenport

Keith Millar Jeremy Cornes

HARPRachel Masters* Principal

PIANO/CELESTECatherine Edwards

* Holds a professorialappointment in London

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

Caroline, Jamie and Zander SharpRichard and Victoria SharpJulian and Gill SimmondsThe Tsukanov FamilySimon Yates and Kevin Roon


London Philharmonic Orchestra | 3


Patrick Harrison

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 September 2007 when Vladimir Jurowskibecame the Orchestra’s Principal Conductor and, in afurther exciting move, the Orchestra appointed YannickNézet-Séguin its new Principal Guest Conductor fromSeptember 2008.

The London Philharmonic Orchestra has been performingat Southbank Centre’s Royal Festival Hall since it openedin 1951, becoming Resident Orchestra in 1992. It playsthere around 40 times each season with many of theworld’s most sought after conductors and soloists.Concert highlights in 2010/11 include an exploration ofMahler’s symphonies and complete song cycles duringthe composer’s anniversary season; the premières ofworks by Matteo D’Amico, Magnus Lindberg and BrettDean; a rare opportunity to hear Rossini’s opera Aurelianoin Palmira in collaboration with long term partner OperaRara; and works by the Orchestra’s new Composer inResidence, Julian Anderson.

In addition to its London season and a series of concertsat Wigmore Hall, the Orchestra has flourishing

residencies in Brighton and Eastbourne, and performsregularly around the UK. It is unique in combining theseconcert activities with esteemed opera performanceseach summer at Glyndebourne Festival Opera where ithas been 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 asignificant 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 trilogyand scores for Lawrence of Arabia, The Mission,Philadelphia and East is East.

The London Philharmonic Orchestra made its firstrecordings on 10 October 1932, just three days after itsfirst public performance. It has recorded and broadcast




regularly 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.

Recent additions to the catalogue have includedacclaimed releases of Elgar’s Symphony No. 1 and SeaPictures with Vernon Handley and Janet Baker; Mahler’sSymphony No. 2 conducted by Klaus Tennstedt; Brahms’sSymphonies Nos 1 and 2 conducted by Vladimir Jurowski;and Dvořák’s Requiem under the baton of Neeme Järvi.The Orchestra’s own-label CDs are also widely availableto download. Visit www.lpo.org.uk/shop for the latestreleases.

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

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

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

‘ … a simply tremendous performance ofMahler’s 3rd Symphony … Jurowski and hisplayers plunged us into a winter ofdiscontent so profoundly expectant thateven the inveterate coughers were silenced.’EDWARD SECKERSON, THE INDEPENDENT, 23 SEPTEMBER 2010

PIETERSCHOEMANLEADER

Patr

ick

Har

riso

n

In 2002, Pieter Schoemanjoined the LondonPhilharmonic Orchestra asCo-Leader. He was appointed Leader in 2008.

Born in South Africa, he made his solo debut with theCape Town Symphony Orchestra at the age of ten. Hestudied with Jack de Wet in South Africa, winningnumerous competitions, including the 1984 World YouthConcerto Competition in America. In 1987 he was offeredthe Heifetz Chair of Music scholarship to study withEduard Schmieder in Los Angeles and in 1991 his talentwas spotted by Pinchas Zukerman who recommendedthat he move to New York to study with SylviaRosenberg. In 1994 he became her teaching assistant atIndiana University, Bloomington.

Pieter Schoeman has performed as a soloist and recitalistthroughout the world in such famous halls as theConcertgebouw in Amsterdam, Moscow’s RachmaninovHall, Capella Hall in St Petersburg, Staatsbibliothek inBerlin, Hollywood Bowl in Los Angeles and QueenElizabeth Hall in London. As a chamber musician heregularly performs at London’s prestigious Wigmore Hall.

As a soloist with the London Philharmonic Orchestra, hehas performed Arvo Pärt’s Double Concerto with BorisGarlitsky and Benjamin Britten’s Double Concerto withAlexander Zemtsov, which was recorded and releasedon the Orchestra’s own record label to great criticalacclaim. In October he performed the Brahms DoubleConcerto with Kristina Blaumane.

In 1995 Pieter Schoeman became Co-Leader of theOrchestre Philharmonique de Nice. Since then he hasperformed frequently as Guest Leader with thesymphony orchestras of Barcelona, Bordeaux, Lyon andBaltimore as well as the BBC Symphony Orchestra. Thisseason he has been invited to lead the RotterdamPhilharmonic Orchestra on several occasions.

Pieter Schoeman has recorded numerous violin soloswith the London Philharmonic Orchestra for Chandos,Opera Rara, Naxos, X5, the BBC and for American filmand television. He led the Orchestra in its soundtrackrecordings for The Lord of the Rings trilogy. He teaches atTrinity College of Music in London.



JUKKA-PEKKA SARASTECONDUCTOR

At the beginning of the 2010/11 season, Jukka-PekkaSaraste took up the position of Chief Conductor of theWDR Symphony Orchestra in Cologne.

Since August 2006 he has held the post of MusicDirector of the Oslo Philharmonic Orchestra. From 1987to 2001, he was Music Director of the Finnish RadioSymphony Orchestra and created an orchestra muchadmired by audiences and critics throughout the world. From 1994 to 2001, he held the position of ChiefConductor of the Toronto Symphony Orchestra and from2002 to 2005 he was Principal Guest Conductor of theBBC Symphony Orchestra. For the Finnish ChamberOrchestra he founded the Tammisaari Festival whichtakes place every summer. He is also Music Adviser ofthe Lahti Symphony Orchestra.

Jukka-Pekka Saraste has established himself as one ofthe exceptional conductors of his generation,demonstrating considerable musical depth andintegrity. He brought the music of Scandinaviancomposers such as Kaija Saariaho, Magnus Lindberg andEsa-Pekka Salonen to greater prominence in the concertrepertoire and also has a strong affinity with the soundand style of late romantic music.

His most recent engagements have taken him to thePhilharmonia, Bavarian Radio Symphony,Concertgebouw, Chicago Symphony, Boston Symphony,Vienna Symphony, Munich Philharmonic, LondonPhilharmonic, Rotterdam Philharmonic and SwedishRadio Orchestras as well as to the Orchestra Filarmonicadella Scala, the WDR Orchestra Cologne and the

Orchestre Philharmonique de Radio France. Jukka-PekkaSaraste also took part in the first Abu Dhabi Classicsseasons with the Sibelius Academy Orchestra and thePhilharmonia Orchestra and conducted a substantialtour to all the European music capitals with the OsloPhilharmonic Orchestra and violinist Anne-SophieMutter.

His discography includes the complete symphonies ofSibelius and Nielsen with the Finnish Radio Orchestra aswell as works by Bartók, Dutilleux, Mussorgsky andProkofiev with the Toronto Symphony Orchestra. Hismost recent recordings are of Mahler’s Symphony No. 9with the WDR Symphony Orchestra, Mahler’s SymphonyNo. 6 and the first DVD releases of Sibelius’sSymphonies Nos 1 and 5 with the Oslo PhilharmonicOrchestra.



FRANK PETER ZIMMERMANNVIOLIN

Born in 1965 in Duisburg, Germany, Frank PeterZimmermann started playing the violin when he wasfive years old, giving his first concert with orchestra atthe age of ten. Since finishing his studies with ValeryGradov, Saschko Gawriloff and Herman Krebbers in1983, he has performed with the world’s mostrenowned orchestras and conductors at all the majorconcert venues as well as at international musicfestivals in Europe, the United States, Japan, SouthAmerica and Australia.

Future engagements will include performances with theBerlin Philharmonic and Royal ConcertgebouwOrchestras both under Mariss Jansons; concerts withthe Bavarian Radio Symphony Orchestra underStéphane Denève and Yannick Nézet-Séguin as part of aresidency with the orchestra this season; a residency in2011/12 with the New York Philharmonic Orchestra(including a tour in Europe) under Alan Gilbert andChristoph von Dohnányi; performances with theChicago Symphony Orchestra and Bernard Haitink andwith the Cleveland Orchestra and Thomas Dausgaard; aresidency in 2011/12 with the Bamberg SymphonyOrchestra under Robin Ticciati, Manfred Honeck andJonathan Nott; and a performance with the orchestra ofLa Scala Milan and Daniel Harding.

Frank Peter Zimmermann has given the world premièresof three violin concertos: in 2009 of Augusta ReadThomas’s Violin Concerto No. 3 ‘Juggler in Paradise’ withthe Orchestre Philharmonique de Radio France andAndrey Boreyko; in 2007 of Brett Dean’s Violin Concerto‘The Lost Art of Letter Writing’ (for which the composerreceived the 2009 Grawemeyer Award) with the RoyalConcertgebouw Orchestra conducted by the composer;and in 2003 of the Violin Concerto ‘en sourdine’ by

Matthias Pintscher with the Berlin PhilharmonicOrchestra and Peter Eötvös.

As an avid chamber musician and recitalist, Frank PeterZimmermann has given numerous concerts worldwide.His regular recital partners are pianists PiotrAnderzewski, Enrico Pace, Emanuel Ax and MartinHelmchen. Together with viola player Antoine Tamestitand cellist Christian Poltéra he forms the TrioZimmermann which has performed in Amsterdam,Brussels, Cologne, London, Lyon, Milan, Munich, Parisand Vienna, as well as at the Salzburg and EdinburghFestivals.

Frank Peter Zimmermann was awarded the ‘Premio delAccademia Musicale Chigiana, Siena 1990’ and in 1994the important Rheinischer Kulturpreis. In 2002 hereceived the Musikpreis of the city of Duisburg and in2008 the ‘Bundesverdienstkreuz 1. Klasse derBundesrepublik Deutschland’.

His recordings include the Tchaikovsky Violin Concertowith the Oslo Philharmonic Orchestra and ManfredHoneck; the Bruch Violin Concerto No. 1 with the RoyalPhilharmonic Orchestra and Paavo Berglund; the BusoniViolin Concerto with the Orchestra Sinfonica Nazionaledella RAI and John Storgards coupled with the BusoniViolin Sonata No. 2 with pianist Enrico Pace; the sixViolin Sonatas by J.S. Bach, again with Enrico Pace; thetwo Violin Concertos of Szymanowski with the WarsawPhilharmonic Orchestra and Antoni Wit; the BrittenViolin Concerto with the Swedish Radio SymphonyOrchestra and Manfred Honeck; and the Sibelius ViolinConcerto with the Helsinki Philharmonic Orchestra andJohn Storgards. For EMI Classics he recorded virtually allof the major concerto repertoire, ranging from Bach toWeill, as well as many works from the recital repertoire.On Teldec Classics he can be heard playing Ligeti’s ViolinConcerto with the ASKO Ensemble and Reinbert deLeeuw. Many of the above recordings have receivedprestigious awards and prizes worldwide.

Frank Peter Zimmermann plays a Stradivarius violinfrom 1711, which once belonged to Fritz Kreisler andwhich is kindly sponsored by the WestLB AG.



Goethe’s play Egmont is set in sixteenth-centuryFlanders, and tells the story of the revolt of thepopulace, led by Count Egmont, against Spanishoppression. The play, completed in 1788, was revived inVienna in 1810: a significant gesture at a time when thecity was under occupation by Napoleon’s troops.Beethoven was asked to write the incidental music, andresponded with a will – although he took so muchtrouble over the project that the score was not readyuntil three weeks after the first night.

The Overture, composed last, is in effect a miniaturesymphonic poem summarising the action of the play –

a form which Beethoven had virtually invented with hisseries of Leonora Overtures for the opera Fidelio. Theslow introduction depicts the sternness of the Spanishrulers and the sufferings of the Flemish people. Themain Allegro, in a concise sonata form with a secondsubject based on the themes of the introduction,describes the revolution itself; it begins with the firststirrings of resistance, and ends with Egmont’s arrestand execution. The major-key coda corresponds to theVictory Symphony which Beethoven had already writtenfor the triumphant end of the drama.

PROGRAMME NOTES

OVERTURE, EGMONT, OP. 84

‘THE OLD PROBLEM OF MUSIC AS MUSIC’

In a programme note for the première of his SecondViolin Concerto in 1943, Bohuslav Martinů drewattention to the tension between the soloist’s projectionof the musical content of the work and the tendency ofthe orchestra to introduce ‘emotional elements’ which‘serve to intensify not the real musical content but thedynamics of tone, sound and power.’ So, he went on: ‘Wefind ourselves faced with the old problem of music asmusic, “absolute music”, as against expressive music (inthe literal sense of “expressing something”).’

The same tension can be found in the other works intonight’s wide-ranging programme. Beethoven’s EgmontOverture of 1810 quite clearly ‘expresses something’, theplot of Goethe’s play about a heroic Flemish revolutionagainst Spanish rule, ending in the death of the hero butthe victory of his cause; but at the same time it follows,more closely than anything else this evening, a classicalformal structure. The Stations of the Sun, an exuberantly

virtuosic work from 1997/98 by the LondonPhilharmonic Orchestra’s new Composer in ResidenceJulian Anderson, is essentially an abstract study of itsown musical material; but the book of the title, aboutBritish folk customs over the cycle of the year, suggestedthe work’s outline of four linked sections, and itsclimactic celebration of Easter.

As for Nielsen’s great Fifth Symphony of 1921/22, it cancertainly be heard as a purely abstract work, ‘about’ itsown musical processes. But its unconventional two-movement structure does seem to portray a powerfulconflict of emotions. The first movement begins in a kindof moral wasteland, with militaristic interventions; asense of security is established by a serene Adagio, whichin a tumultuous battle overcomes the challenge of animprovised side-drum interruption. The secondmovement starts out resolutely, but becomesincreasingly feverish, until a hectic fugue ends incollapse; but a calm second fugue restores confidence,and the Symphony ends in triumph.

Ludwig vanBEETHOVEN

1770-1827



PROGRAMME NOTES

INTERVAL 20 minutes

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

Bohuslav Martinů learned the violin during hischildhood in the rural borderland of Bohemia andMoravia, and became proficient enough on theinstrument to hold down a job in the CzechPhilharmonic Orchestra from 1919 to 1923. But at thatpoint composition took over: he left Prague to studywith Albert Roussel in Paris, where he was to make hishome until the approach of the Nazis forced him toemigrate to the USA. However, his experience of theviolin left its mark on his extensive catalogue, whichincludes, among much other music featuring theinstrument, two full-scale violin concertos. The secondof these was written in New York City in nine weeksbetween February and April 1943 for the Russian-bornvirtuoso Mischa Elman, who had been attracted toMartinů’s music by a hearing of his recent FirstSymphony. The première was given by Elman with theBoston Symphony Orchestra and Serge Koussevitzky onthe last day of the same year.

The Concerto is scored for a large orchestra, whichbegins the first movement at full throttle. The soloistenters with a short, dramatic cadenza, and then takesup the theme of the orchestral prelude and turns it intothe first of the work’s many lyrical melodies. When thishas been sung at some length, the woodwind begin afaster section in 6/8 time, two groups of three quickbeats to the bar, though with characteristically lithesyncopations and cross-rhythms. The soloist dominatesthe later stages of this section with coruscating

virtuosity and, in a contrasting central episode, a broadsinging melody. Suddenly the pace slackens, and afteran expressive orchestral interlude the soloist re-enterswith a new version of his initial lyrical melody. There arereferences back to the orchestral opening, and anextended reprise of the cadenza, before the movementcomes to a quiet end.

The central movement is more lightly scored, and full ofintricately interlocking accompanying patterns. Anotherorchestral introduction precedes a long lyricalparagraph for the solo violin, again in 6/8 time. There isa middle section at a slightly slower basic tempo, butwith increasingly active figuration in the solo part. Thenthe lyrical flow is resumed and extended in newdirections, reaching a singing climax in the orchestra,which is followed by a short cadenza and a coda ofupward-drifting scales.

The finale sets out in ebullient duple-time polkarhythms, with the soloist soon contributing aswaggering main theme of chords and tremolos, latertaken up by the orchestra. A more relaxed orchestralinterlude leads into an increasingly athletic soloepisode, once again in Martinů’s favourite 6/8 time,which is rounded off emphatically by the orchestra. Thesoloist brings back the main theme, adds a last cadenza,and is rejoined by the orchestra for a brisk triple-timecoda.

VIOLIN CONCERTO NO. 2

FRANK PETER ZIMMERMANN violin

Andante – Poco allegro | Andante moderato | Poco allegro

BohuslavMARTINŮ

1890-1959



PROGRAMME NOTES

THE STATIONS OF THE SUNJulianANDERSON

Born 1967

Julian Anderson, although newly appointed as theLondon Philharmonic Orchestra’s Composer inResidence, is no stranger to the Orchestra: he was itsComposer in Focus in the 2002/03 season, he wroteAlleluia for it to perform at the reopening of the RoyalFestival Hall in 2007, and for some years he has been amember of the London Philharmonic Choir. Born inLondon, he studied composition with John Lambert atthe Royal College of Music, with Alexander Goehr atCambridge University, and in Paris with Tristan Murail.He has been Composer in Residence with Sinfonia 21,Composer in Association with the City of BirminghamSymphony Orchestra, and a Daniel Lewis YoungComposer Fellow with the Cleveland Orchestra; andfrom 2002 until this season he has been artistic directorof the Philharmonia Orchestra’s early-evening ‘Music ofToday’ series. Meanwhile, he has taught at the RoyalCollege, at Harvard University, and since 2007 at theGuildhall School of Music and Drama. Anderson’s musicbelongs uncompromisingly to the modernistmainstream, but it has always succeeded in making adirect connection with audiences because of hisimaginative handling of colour, his clear delineation ofmood, and his use of simple melodic material, oftenderived from different folk traditions. He has alwaysshown a special flair for writing for large orchestralforces, and indeed he described his recent Fantasias,given its British première by the National YouthOrchestra of Great Britain at this summer’s BBC Proms,as ‘a celebration of the modern symphony orchestra’.

Anderson’s The Stations of the Sun is an earlier exampleof that orchestral flair, written in 1997/98 for the 1998BBC Proms, at which it was first performed by the BBCSymphony Orchestra and Sir Andrew Davis. It is scoredfor a large orchestra, including a well equippedpercussion section, in constantly varied colours andtextures. Its title is that of a 1996 book by Ronald

Hutton which discusses and analyses annual folkcustoms in different parts of Britain, treating them inthe order of the rotating seasons. From this, Andersonderived not a detailed programme, but the generalconcept of a work based on the idea of celebrations in aseasonal cycle. Its span of 17 or 18 minutes is thereforedivided into four continuous but distinct sections, withtransitions and a coda, and with what the composercalls ‘an increasing amount of interruption and cross-referencing’.

The first section is a scherzo, beginning withinterlocking fragments and jazzy syncopations andgradually coalescing in a climax. A transition ofwoodwind lines over sustained strings leads to thesecond, slow section, which begins with anunharmonised violin melody over bass drum strokes,and continues as a sequence of free variations on thattheme, culminating in a mass of vibrant string tone. Adance-like episode, initiated by flutes and clarinets withharp and temple bells, leads to the third section. This isbased on a variant of the theme of the previous section,‘now revealed’, the composer says, ‘as the plainsongAlleluia Adorabo’. It begins over incisively rhythmicpercussion, and gains momentum to arrive at a passagemarked Sostenuto estatico, ‘sustained and ecstatic’,which Anderson describes as ‘the central plateau of thework’.

After this, the fourth section is more fragmented,alternating between and combining material fordifferent families of the orchestra: twining woodwindlines, dancing strings, insistent percussion patterns, andincreasingly strident interjections by the brass. Thesedifferent layers come together to reach the dramaticclimax of the work, marked Carillonando tumultuoso,‘carillonading and tumultuous’ – ‘an evocation ofEaster’, Anderson says, ‘with an explosion of bells, both



PROGRAMME NOTES

Carl Nielsen began writing the last but one of his sixsymphonies in 1921, and completed it on 15 January1922, only nine days before conducting the firstperformance in Copenhagen. It is not only one of theDanish composer’s masterworks, but also a landmark inthe history of the symphony. Like the SeventhSymphony of Nielsen’s Finnish contemporary Sibeliustwo years later, it showed that it was possible to createa work with an entirely original structure which makesonly vestigial references to the elements of traditionalsymphonic form, but which is still recognisablysymphonic because of the organic inter-relationship ofits themes, their logical and purposeful development,and (especially important in Nielsen’s case) the shapingpower of tonality. But Nielsen’s individual symphonicachievement goes further. Without being associatedwith any specific programme, his themes and theirtreatment have the power to represent archetypalemotional states that we can all recognise and share: sothat his great thematic and tonal arguments and theirresolutions take on, like Beethoven’s or Mahler’s, a kindof moral force.

The first of the two movements begins, as it were, in awasteland: a deserted First World War battlefield,perhaps, or more probably a landscape of the mind.Violas waver apparently endlessly between two notes,wind instruments drift about in pairs, a violin melodyrises higher and higher but falls back each time. There is

a stern march episode over a pizzicato bass of twoalternating notes, with an insistently repeated militaryrhythm on the side-drum, and wailing woodwindcounter-melodies. Babbling triplet figures are added tothe texture, and persist through a reprise of the driftingwind idea, now stabilised over a long-held bass note,and a more threatening return of the march episode.Eventually the march peters out into echoes of earlierideas, and the section ends with stray drum-taps andisolated violin notes, dying away.

At this point, the tempo changes to Adagio, and a newnote of humanity is sounded by a broad, sustainedmelody in G major, which grows in confidence, puttingout new contrapuntal shoots, and reaches a sonorousclimax. But when it tries to begin again, it is assailed byincreasingly panicky echoes of the first section, andthen by the side-drummer, first playing the rhythm ofthe earlier march episode at a faster tempo thaneveryone else’s, then instructed to improvise ‘as if at allcosts to disturb the music’. A tumultuous battle ensues,from which the G major melody emerges victorious in alast great apotheosis. A rhapsodic clarinet cadenza overa quiet held chord sees off a final challenge from theside-drum’s martial rhythm, this time from the distance,to bring the movement to a quiet end.

The second movement makes a fresh start in B majorwith a triple-time Allegro, starting resolutely and

SYMPHONY NO. 5, OP. 50

Tempo giusto – Adagio non troppo | Allegro – Presto –Andante un poco tranquillo – Allegro

CarlNIELSEN

1865-1931

real and imaginary’. A massive collapse leads to thecoda, which represents the culmination of the work’smelodic and harmonic development. It begins withquiet tremolando strings and the intertwiningwoodwind once more, and builds up to a saturated full-

orchestra texture drifting over long-sustained Ds in thebass, before an open ending – suggesting, JulianAnderson says, ‘the beginning of something new whichis cut off before we can fully glimpse it’.



PROGRAMME NOTES

continuing with a gentler woodwind melody and aBeethoven-like passage of giant strides. But thedevelopment of this material becomes increasinglyfeverish, and eventually collapses to a patch of stasisrecalling the sterility of the opening section. The stringsbegin a scurrying Presto fugue in F minor, but this issoon attacked by timpani strokes and wild shrieks onthe clarinets, and after a vehement climax it breaks

down completely. A second fugue begins, based on aslowed-up version of the opening theme of themovement, and this time calm and healing. It leadssure-footedly to a recapitulation of the Allegro opening,which this time moves with confidence and certainty ofpurpose to an assertive E flat major ending.

Programme notes by Anthony Burton © 2010

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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 can also bepurchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 020 78404242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

LPO-0026 Klaus Tennstedt conducts Beethoven’s Symphony No. 9 (Choral) aspart of Volume 3 of the London Philharmonic Orchestra’s 75th AnniversaryBox Sets. Soloists Lucia Popp, Ann Murray, Anthony Rolfe Johnson and RenéPape join the London Philharmonic Choir for this performance.

‘ The other jewel is Tennstedt’s Beethoven: Ninth Symphony, crackling withnervous energy from the start and showcasing the LPO’s intuitive relationshipwith its late lamented German chief.’ ANDREW CLARK, FINANCIAL TIMES, 27 OCTOBER 2007

This volume features four CDs by the Orchestra’s most recent PrincipalConductors: Klaus Tennstedt (Beethoven Symphony No. 9), Franz Welser-Möst(Strauss, Mozart, Schubert and Bruckner), Kurt Masur (ShostakovichSymphonies Nos 1 and 5) and Vladimir Jurowski (Shostakovich Symphony No. 14).

LPO-0035 Marin Alsop conducts James MacMillan, Thomas Adès and JenniferHigdon

‘Exciting music, excitingly performed; from Alsop you expect nothing else.’THE TIMES

LPO-0029 Kurt Masur conducts Schubert’s Unfinished Symphony and Janáček’sGlagolitic Mass

‘this awesomely muscular, vital account of Janáček’s Glagolitic (or Czech) Mass …’RICK JONES, TIMES KNOWLEDGE, 8 SEPTEMBER 2007



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

Thomas Beecham GroupMr & Mrs Richard & Victoria SharpJulian & Gill SimmondsThe Tsukanov FamilySimon Yates & Kevin Roon

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 Ellen

Commander Vincent EvansMr Daniel GoldsteinMrs Barbara GreenOliver HeatonPeter MacDonald EggersMr & Mrs David MalpasAndrew T MillsMr Maxwell MorrisonMr Michael PosenMr & Mrs Thierry Sciard

Mr John Soderquist & Mr CostasMichaelides

Mr & 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 TrustRuth 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 Jonathan & Jeniffer Harris TrustCapital Radio’s Help a London ChildThe Idlewild TrustThe Emmanuel Kaye FoundationMaurice Marks Charitable TrustThe Michael Marks Charitable TrustMarsh Christian Trust

UK 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 Rubin FoundationThe Seary Charitable TrustThe Samuel Sebba Charitable TrustSound ConnectionsThe Steel Charitable TrustThe Bernard Sunley Charitable

FoundationThe Swan TrustJohn Thaw FoundationThe Underwood TrustGarfield Weston FoundationYouth Music

and others who wish to remainanonymous.



London Philharmonic Orchestra Annual Appeal 2010/11

You are a young composer. You have had the pleasure ofhearing your small scale works performed, but how wouldyou begin to think about writing for the myriad instrumentsof the orchestra? How could you ensure that it sounded justas you imagined? If you wrote the work, would it beperformed? If so, by whom? Then, how could your talent berecognised and supported so that your music was heard andenjoyed by millions?

These questions are addressed by the London PhilharmonicOrchestra’s Debut Sounds programme which, in 2011, will offer the cream of the UK’s youngcomposing talent the opportunity to work with Composer in Residence, Julian Anderson, to create aten-minute work for performance in June 2011 by a London Philharmonic Orchestra ensemble.

Staging the Debut Sounds concert costs in excess of £20,000 and the Orchestra receives no publicsubsidy for its vital education programme. It has never been easy to commission or perform great art,and even the likes of Haydn and Beethoven were reliant on patronage from supporters taking a leap offaith. Today we are asking you to make an investment to support these young artists at the beginningof their careers.

The London Philharmonic Orchestra is grateful to all those who have already made donations to thisappeal. To make your contribution please call Elisenda Ayats on 020 7840 4225.

A year in CDs – the perfect Christmas gift!

Struggling for Christmas gift ideas?

The London Philharmonic Orchestra is offering a unique CD subscription which would be ideal for yourmusic-loving friends and family. We will send the latest CD on the LPO label each month, so that theyalways have something new to listen to. CDs will be dispatched before they are available in the shopsand we can send the first disc to you so that you can give it in person or send a card with yourpersonalised greeting.

Full year CD subscription: £79.99 – 10 CDs (worth atleast £100) Half year CD subscription: £44.99 – 5 CDs (worth atleast £50)

Visit www.lpo.org.uk/gifts to buy online or call theLondon Philharmonic Orchestra Ticket Office on020 7840 4242 (Mon-Fri, 10am-5pm).

No CDs are issued in July or August and, if there is no new release in any other month, a recording fromour back catalogue will be issued.



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

Anne FindlayEducation Officer

Isobel TimmsCommunity 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

Phoebe RouseCorporate Relations Manager

Sarah TattersallCorporate Relations and Events Manager

Melissa Van EmdenCorporate Relations and Events Officer

Elisenda AyatsDevelopment and FinanceOfficer

MARKETING

Kath TroutMarketing Director

Ellie DragonettiMarketing Manager

Frances CookPublications Manager

Samantha KendallBox Office Administrator(Tel: 020 7840 4242)

Charly Fraser-AnnandIntern

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 Beethoven,Martinů and Nielsen courtesyof the Royal College of Music,London. Photograph of JulianAnderson by Maurice Foxhall.

Photograph on the front cover by Pip Eastop.

Programmes printed by Cantate.

†Supported by Macquarie Group



FUTURE CONCERTSAT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

MAHLER ANNIVERSARYJTI FRIDAY SERIESFriday 14 January 2011 | 7.30pm

Szymanowski Violin Concerto No. 2Mahler Symphony No. 6

Jaap van Zweden conductorLeonidas Kavakos violin

6.15pm–6.45pm | FREE Pre-Concert EventRoyal Festival HallWith the help of the Orchestra’s percussion section wetake a look at Mahler’s growing interest in non-standardinstrumentation.

MAHLER ANNIVERSARYWednesday 19 January 2011 | 7.30pm

Beethoven Piano Concerto No. 5 (Emperor)Mahler Symphony No. 5

Yannick Nézet-Séguin conductorNicholas Angelich piano

Saturday 22 January 2011 | 7.30pm

Franck Symphony in D minorFauré Requiem

Yannick Nézet-Séguin conductorSally Matthews sopranoGerald Finley bass baritoneLondon Philharmonic Choir

Barlines – FREE Post-Concert EventLevel 2 Foyer at Royal Festival HallAn informal discussion with Yannick Nézet-Séguinfollowing the evening’s performance.

Wednesday 26 January 2011 | 7.30pm

Peter Eötvös Shadows (UK première of the orchestralversion)Liszt Piano Concerto No. 2Zemlinsky Lyric Symphony

Vladimir Jurowski conductorAlexander Markovich pianoMelanie Diener sopranoThomas Hampson baritone

6.15pm–6.45pm | FREE Pre-Concert EventRoyal Festival HallSurrey University music lecturer Jeremy Barhamdiscusses Mahler, fin-de-siècle Vienna and the avant-garde generation.

Barlines – FREE Post-Concert EventLevel 2 Foyer at Royal Festival HallAn informal discussion with Vladimir Jurowski followingthe evening’s performance.

Saturday 29 January 2011 | 7.30pm

Ligeti LontanoBartók Violin Concerto No. 1Mahler Das klagende Lied (original version)

Vladimir Jurowski conductorBarnabas Kelemen violinMelanie Diener sopranoChristianne Stotijn mezzo sopranoMichael Koenig tenorChristopher Purves baritoneLondon Philharmonic Choir

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

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

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

Yannick Nézet-Séguin and NicholasAngelich

Jaap van Zwedenand LeonidasKavakos


Documents

15 December 2010 LPO Programme notes