London Philharmonic Orchestra programme 7 February

I N S I D E O U T

lpo.org.uk/rachmaninoffConcert programme

Winner of the RPS Music Award for Ensemble Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI

supported by the Tsukanov Family FoundationLeader PIEtER SchOEMAn

supported by Neil WestreichComposer in Residence MAgnUS LInDbERgPatron hRh thE DUKE OF KEnt Kg

Chief Executive and Artistic Director tIMOthY WALKER AM

contents

2 Welcome LPO 2015/16 season launch3 On stage tonight 4 About the Orchestra5 Leader: Pieter Schoeman 6 Vladimir Jurowski7 Andrei Bondarenko8 London Philharmonic Choir9 Trinity Boys Choir10 Programme notes18 Next concerts19 Rachmaninoff: Inside Out20 LPO recordings recent releases21 2015/16 season22 Supporters23 Sound Futures donors24 LPO administration

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

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Southbank centre’s Royal Festival hallSaturday 7 February 2015 | 7.30pm

Rachmaninoff Three Russian Songs, Op. 41 (14’)

Rachmaninoff Spring: Cantata, Op. 20 (17’)

Interval

EnescuSymphony No. 3 in C* (50’)

Vladimir Jurowskiconductor

Andrei bondarenkobaritone

London Philharmonic choirtrinity boys choir

* Supported by the Romanian Cultural Institute

Free pre-concert event 4.00–6.00pm | Royal Festival hall

Rex Lawson and Denis Hall, of the Pianola Institute, give a unique performance of Rachmaninoff piano rolls.

In co-operation with the Serge Rachmaninoff Foundation

2 | London Philharmonic Orchestra

Welcome

Welcome to Southbank centre

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

Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery.

If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email [email protected]

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

PhOtOgRAPhY is not allowed in the auditorium.

LAtEcOMERS will only be admitted to the auditorium if there is a suitable break in the performance.

REcORDIng is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

MObILES, PAgERS AnD WAtchES should be switched off before the performance begins.

London Philharmonic Orchestra2015/16 season launch

Booking is now open for our new season. Browse the concerts at lpo.org.uk.

Highlights include:

Shakespeare400: 2016 marks the 400th anniversary of Shakespeare’s death, and in collaboration with other leading cultural organisations we present a series of concerts celebrating some of the wonderful music inspired by the great playwright, including works by Sibelius, Dvořák, Prokofiev, Strauss and Britten. The series culminates in a specially curated Anniversary Gala Concert directed by Simon Callow.

Vladimir Jurowski, Principal conductor and Artistic Advisor: We were pleased to announce recently that Jurowski’s celebrated partnership as Principal Conductor and Artistic Advisor with the LPO will carry on until at least 2018. He opens the season with the continuation of his Mahler symphony cycle with a performance of the Seventh Symphony, and resumes his recent exploration of Bruckner symphonies with a performance of the Third.

Principal guest conductor: Andrés Orozco-Estrada: This season we welcome our new Principal Guest Conductor Andrés Orozco-Estrada. Colombian-born and trained in Vienna, he has already shown us the reason for his meteoric rise through the ranks and why everyone is talking about him.

Brief Encounter: We present a screening of David Lean’s iconic film with live orchestra performing its famous soundtrack of Rachmaninoff’s Piano Concerto No. 2.

Premieres: New music plays an integral part in every LPO concert season, and in 2015/16 we give premieres of works by our Composer in Residence Magnus Lindberg, Krzysztof Penderecki, Alexander Raskatov and Marc-André Dalbavie.

London Philharmonic Orchestra | 3

On stage tonight

chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert: Sonja Drexler

First ViolinsPieter Schoeman* Leader

Chair supported by Neil Westreich

Vesselin Gellev Sub-LeaderIlyoung Chae

Chair supported by an anonymous donor

Ji-Hyun Lee Chair supported by Eric Tomsett

Catherine CraigThomas EisnerMartin HöhmannGeoffrey Lynn

Chair supported by Caroline, Jamie & Zander Sharp

Robert PoolSarah StreatfeildYang ZhangGrace LeeRebecca ShorrockAlina PetrenkoGalina TanneyCaroline FrenkelPeter NallCaroline Sharp

Second ViolinsThomas Norris

Guest PrincipalKate Birchall

Chair supported by David & Victoria Graham Fuller

Nancy ElanLorenzo Gentili-TedeschiFiona HighamJoseph MaherAshley StevensFloortje GerritsenSioni WilliamsHarry KerrMila MustakovaStephen StewartJohn DickinsonNilufar AlimaksumovaGavin DaviesSheila Law

ViolasCyrille Mercier PrincipalRobert DuncanGregory Aronovich

Katharine LeekSusanne MartensBenedetto PollaniEmmanuella Reiter*Laura VallejoIsabel PereiraNaomi HoltDaniel CornfordAlistair ScahillMartin FennSarah Malcolm

cellosKristina Blaumane PrincipalKristaps BergsFrancis BucknallLaura DonoghueSantiago Carvalho †David LaleGregory WalmsleyElisabeth WiklanderSue Sutherley Susanna RiddellTom RoffHelen Rathbone

Double bassesKevin Rundell* PrincipalLaurence LovelleGeorge PenistonRichard LewisWilliam ColeKenneth KnussenHelen RowlandsCharlotte KerbegianBen WolstenholmeCatherine Ricketts

FlutesAlja Velkaverh

Guest PrincipalSue Thomas*

Chair supported by Victoria Robey OBE

Joanna MarshJulia CrowellStewart McIlwham*

PiccolosStewart McIlwham*

PrincipalJulia Crowell

OboesIan Hardwick* PrincipalAlice MundayHelen VigursSue Böhling

cors AnglaisSue Böhling* PrincipalHelen Vigurs

clarinetsRobert Hill* PrincipalThomas WatmoughEmily Meredith

bass clarinetPaul Richards Principal

E-flat clarinetThomas Watmough

Principal

bassoonsJos Lammerse

Guest PrincipalGareth Newman Stuart RussellSimon Estell

contra bassoonSimon Estell Principal

hornsDavid Pyatt* Principal

Chair supported by Simon Robey

John Ryan* PrincipalMartin HobbsMark Vines Co-PrincipalGareth MollisonJoseph RyanJonathan Bareham

trumpetsPaul Beniston* PrincipalAnne McAneney*

Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal Robin Totterdell

cornetsDaniel NewellDavid Hilton

Piccolo trumpetNicholas Betts

Alto trumpetDaniel Newell

trombonesMark Templeton* Principal

Chair supported by William & Alex de Winton

John RandallAndrew Connington

Valve tromboneDavid Whitehouse

bass trombonesLyndon Meredith PrincipalSam Freeman

tubaLee Tsarmaklis* Principal

Chair supported by Friends of the Orchestra

EuphoniumsAndy WoodLyndon Meredith

timpaniSimon Carrington* PrincipalBarnaby Archer

PercussionAndrew Barclay* Principal

Chair supported by

Andrew Davenport

Tom EdwardsKeith Millar Jeremy CornesSarah MasonIgnacio Molins

harpsRachel Masters* PrincipalLucy Haslar

PianoCatherine Edwards

celesteClíodna Shanahan

OrganJames Sherlock

* Holds a professorial appointment in London

† Chevalier of the Brazilian Order of Rio Branco

Meet our members: lpo.org.uk/players


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


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.


Vladimir JurowskiPrincipal Conductor and Artistic Advisor

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One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco.

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13).

He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin, New York and St Petersburg Philharmonic orchestras; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra national de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos.

Quite apart from the immaculate preparation and the most elegant conducting style in the business, Jurowski programmes with an imagination matched by none of London’s other principal conductors.The Arts Desk, December 2012

lpo.org.uk/about/jurowski

Watch a video of Vladimir Jurowski introducing the LPO 2014/15 season: lpo.org.uk/whats-on/season14-15.html


Andrei Bondarenkobaritone

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The young Ukrainian baritone Andrei Bondarenko has worked extensively with leading conductors including Valery Gergiev, Ivor Bolton, Yannick Nézet-Séguin, Vladimir Ashkenazy, Enrique Mazzola, Kirill Karabits, Andrew Litton, Teodor Currentzis, Michael Sturminger, Omer Meir Wellber and Mikhail Tatarnikov.

This season and beyond, his engagements include: the Count (The Marriage of Figaro) at the Teatro Real Madrid, Robert (Iolanta) with the Gürzenich Orchestra, Marcello (La bohème) at Bayerische Staatsoper Munich and the Opernhaus Zürich, Eugene Onegin and Iolanta for the Dallas Opera, Belcore L’Elisir d’Amore for Israeli Opera, Eugene Onegin in Sao Paolo, as well as Billy Budd at the Cologne Opera. He will also record the title role in Don Giovanni for Sony Classics.

Recent highlights include Eugene Onegin for Oper Köln, Staatstheater Stuttgart and Glyndebourne Festival, Andrei in War and Peace in a new production for the Mariinsky Theater, his solo recital debut at the Wigmore Hall accompanied by Gary Matthewman, and his participation in Rolando Villazon’s TV show Stars von Morgen broadcast on ARTE TV, both in France and Germany.

Andrei has recorded The Marriage of Figaro for Sony Classics, Rachmaninoff songs with Iain Burnside at the Queens Hall in Edinburgh for Delphian Records as well as the highly acclaimed Lieutenant Kijé Suite on the BIS label.

Despite his youth, he has already appeared at the Salzburg Festival, Carnegie Hall, Wigmore Hall, Glyndebourne Festival and Touring Opera, Teatro Colon, Cologne Opera, Sydney Opera House, Perm State Opera

and Mariinsky Theatre. He also gave his role debut as Billy in Billy Budd in the first ever production in Russia at the Mikhailovsky Theatre, St Petersburg. He sang in the theatre/opera project, The Giacomo Variations, alongside John Malkovich and has toured extensively with Larissa Gergieva. Andrei took part in the Salzburg Festival Young Singers Project, following which he returned to the Festival for Gounod’s Romeo and Juliet with Yannick Nézet-Séguin and Le rossignol with Ivor Bolton.

Andrei won the 2011 BBC Cardiff Singer of the World Song Prize, was awarded a diploma at the Ukrainian competition ‘New Ukrainian Voices’ and won first prize at the international vocal competition ‘Art in the 21st Century’ in Vorzel (Ukraine). He was a prize-winner at the 2006 International Rimsky-Korsakov vocal competition in St. Petersburg, the 2008 all-Russian Nadezhda Obuhova Young Vocalists’ Festival and Competition, and the 7th International Stanisław Moniuszko Vocal Competition in 2010.

Andrei was born in 1987 in Kamenez-Podolsky, Ukraine. Since 2007 he has been a soloist of the Mariinsky Academy of Young Singers. In 2003 he entered the vocal department of the National Tchaikovsky Academy of Music in Kiev, Ukraine and in 2004 was admitted to the vocal department of the Kiev Conservatory. He then became a soloist of the Ukraine National Philharmonic Society.

“The baritone Andrei Bondarenko is a delight with his honeyed, even tone and faultless phrasing.” Andrew Clements, The Guardian, April 2014

Andrei bondarenko sings with the London Philharmonic Orchestra and choir again this coming Wednesday 11 February, performing Rachmaninoff’s choral symphony, The Bells.


London Philharmonic Choir

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for more than 65 years and made numerous recordings for CD, radio and television.

Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. As part of Southbank Centre’s The Rest Is Noise festival, the Choir performed Arvo Pärt’s Magnificat and Berlin Mass, Shostakovich’s Symphony No. 13 (Babi Yar), Poulenc’s Stabat Mater, Britten’s War Requiem, Stravinsky’s Symphony of Psalms, Orff’s Carmina Burana, Tippett’s A Child of Our Time and John Adams’s El Niño.

In early 2014 the Choir performed Julian Anderson’s Alleluia – which it premiered at the reopening of Royal Festival Hall in 2007 – and Beethoven’s Symphony No. 9 under Vladimir Jurowski, repeating the latter at the Théâtre des Champs-Elysées, Paris. In November 2014 the Choir was delighted to perform Mahler’s Symphony No. 2 under the Orchestra’s new Principal Guest Conductor Designate Andrés Orozco-Estrada, and looks forward to performances of Ravel’s Daphnis et Chloé and Janáček’s Glagolitic Mass this season.

The Choir appears regularly at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir performed at the Doctor Who Proms in 2008, 2010 and 2013, and in 2011 appeared in Verdi’s Requiem, Liszt’s A Faust Symphony and Beethoven’s Missa Solemnis. In 2012 it performed Elgar’s The Apostles with Sir Mark Elder and Howells’s Hymnus Paradisi under Martyn Brabbins. Last year’s Proms season included Walton’s Henry V with the Academy of St Martin in the Fields and John Hurt under Sir Neville Marriner, who at 90 years old now holds the record as the oldest conductor to lead a Proms concert.

A well-travelled choir, it has visited numerous European countries and appeared in Kuala Lumpur, Hong Kong and Perth, Australia. Members of the Choir performed Weill’s The Threepenny Opera in Paris, with a repeat performance in London. In 2012 and 2014 it appeared at the Touquet International Music Masters Festival in France, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem.

The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit lpc.org.uk

Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Accompanist Jonathan Beatty | chairman Ian Frost | choir Manager Tessa Bartley

SopranosAnnette Argent, Hilary Bates, Catherine Boxall, Hannah Boyce, Anisoara Brinzei, Laura Buntine, Whitney Burdge, Olivia Carter, Paula Chessell, Emily Clarke, Emma Craven, Sarah Deane-Cutler, Victoria Denard, Lucy Doig, Jessica Eucker, Rachel Gibbon,Jane Goddard, Anna Greco, Emma Hancox, Sally Harrison, Carolyn Hayman, Louisa Hungate, Laura Hunt, Georgina Kaim, Mai Kikkawa, Jenni Kilvert, Judith Kistner, Olivia Knibbs, Clare Lovett, Natasha Maslova, Janey Maxwell, Alexandra May, Meg McClure Tynan, Adi McCrea, Carmel Oliver, Lydia Pearson, Marie Power , Kathryn Quinton, Danielle Reece-Greenhalgh, Rebecca Schendel, Cathy Stockall, Susan Thomas, Susan Watts, Charlotte Wielgut

AltosDeirdre Ashton, Sally Brien, Andrei Caracoti, Noel Chow, Yvonne Cohen, Sheila Cox, Fiona Duffy-Farrell, Andrea Easey, Carmel Edmonds, Romaine Gerber, Kathryn Gilfoy, Henrietta Hammonds, Kristi Jagodin, Charlotte Kingston, Andrea Lane, Emma MacDonald, Lisa MacDonald, Ayla Mansur, Michelle

Marple, Sophie Morrison, Rachel Murray, Angela Pascoe, Carolyn Saunders, Muriel Swijghuisen Reigersberg, Catherine Travers, Susi Underwood, Jenny Watson, Philippa Winstanley

tenors Scott Addison, David Aldred, Geir Andreassen, Chris Beynon, Kevin Darnell, Fred Fisher, Iain Handyside, Stephen Hodges, Patrick Hughes, Tony Masters, Knut Olav Rygnestad, Keith Saunders, Jaka Škapin, Owen Toller, Martin Yates

bassesMartyn Atkins, Geoff Clare, John Clay, Bill Cumber, Phillip Dangerfield, Marcus Daniels, Leander Diener, Paul Fincham, Ian Frost, Christopher Gadd, Nick Hennell-Foley, Mark Hillier, Stephen Hines, David Hodgson, Martin Hudson, Steve Kirby, Anthony McDonald, John D Morris, John G Morris, Rob Northcott, Will Parsons, Johan Pieters, Mike Probert, Jonathan Riley, John Salmon, Ed Smith, Daniel Snowman, Tom Stevenson, Alex Thomas, James Torniainen, Hin-Yan Wong, John Wood


Trinity Boys Choir

Trinity Boys Choir is currently celebrating the 50th anniversary since its first professional engagement in 1965. The boys frequently appear on such prestigious stages as Glyndebourne, the Royal Opera House, Covent Garden, English National Opera and at various opera houses abroad, including the Opera Comique, Paris, La Fenice, Venice, and at the Aix-en-Provence Festival. The choir is especially well known for its role in Britten’s A Midsummer Night’s Dream, in which it has appeared in over 150 professional performances, on the Warner DVD, the Virgin Classics CD and Glyndebourne’s own label CD. Recent operatic engagements include the Royal Opera House, Glyndebourne, English National Opera, and theatres in the USA, Belgium, Israel and Italy.

On the concert platform, the Choir is regularly invited to perform at the BBC Proms, and was honoured to perform in Her Majesty the Queen’s 80th Birthday Prom Concert at the Royal Albert Hall in 2006. The boys have performed with all the major London orchestras, and with Sir John Eliot Gardiner and his Monteverdi Choir in Spain, Germany, Italy and the UK. Trinity Boys Choir has also been invited to perform in Vienna with the Vienna Boys Choir, as well as throughout Europe and Asia. The choir appears annually at the Wachock Abbey Bach Festival in Poland.

Soloists from the choir have recently appeared at the Krakow Film Festival, at Amsterdam’s Concertgebouw and in the Konzerthaus, Vienna.

The Choir’s many recordings include John Rutter’s Bang, an opera written for the boys, Britten’s A Boy Was Born with the BBC Symphony Chorus, Walton’s Henry V with the BBC Symphony Orchestra and the BBC Singers, and Carmina Burana with the London Philharmonic Orchestra. The recent ‘A Cappella’ recording was CD of the Month in Organists’ Review.

TV appearances have included The Royal Variety Performance, the Pride of Britain Awards and Children in Need. Last Easter the boys featured alongside the Gabrieli Consort in a BBC2 documentary about the early London performances of Handel’s Messiah. The boys can also be heard on the soundtracks of the Disney blockbuster Maleficent, Angelina Jolie’s Unbroken and The Hunger Games:Mockinjay – Part 1.

Ross Ah-WengJoshua AlbuquerqueHugo Barry-CasademuntGraham BassNicholas ChallierMing-Ho CheungHarry CooksonJamie CoskunGabriel CrozierCharlie DaviesWilliam DaviesOwen DavisBuster DickinsonSebastian Exall

Ben FairmanIsaac FlanaganTheo FlanaganHamish FrostDaniel GilbertMatthew GilbertAlex GreenWilliam HardyAmiri HarewoodBen HillJoshua KenneyGabriel KutiTheo LallyDaniel Le Maitre-George

Harry LeesHaig Lucas Thomas ManzaroliJoel Okolo-HunterKishan PatelBen PeckLucas PintoSamuel RichardsonKrishan ShahAndrew Sinclair-KnoppRoman SouthcombeWilliam StoneDaniel WilliamsBen Withnell

Director David Swinson


Programme notes

Serge Rachmaninoff and George Enescu were two of the most celebrated performers of their day: Rachmaninoff as a virtuoso pianist and a conductor; Enescu as a solo violinist, a pianist of concert standard and a conductor, especially in his native Romania. Both were also leading composers, and not only for their own instruments. As this evening’s programme demonstrates, both were masters of writing for large orchestral forces with chorus.

Rachmaninoff’s most ambitious work for chorus and orchestra is the 1913 choral symphony The Bells, to be performed in this series next Wednesday. Tonight’s programme includes his two smaller works in the same category: his 1926 arrangement of three Russian folk songs; and his 1902 cantata Spring,

a setting of a poem by Nikolay Nekrasov in which a peasant plans to murder his unfaithful wife, but abandons the idea when spring arrives.

Among Enescu’s major works is the last of his three (completed) symphonies. This was begun in 1916, shortly before Romania entered the First World War, and completed in 1918. Its three-movement plan – wide-ranging first movement, scherzo and slow finale – has been interpreted in terms of the Inferno, Purgatory and Paradise of Dante’s Divine Comedy, or more straightforwardly the realms of earth, hell and Paradise. The serene finale, with its use of wordless chorus and organ, certainly seems to suggest a vision of heaven.

Speedread

Rachmaninoff’s choral music falls into two categories: several works for unaccompanied choir, mostly sacred – in accordance with the Orthodox prohibition of instruments in worship – and including the great All-Night Vigil (the so-called ‘Vespers’); and three works for chorus and large orchestra, of which the biggest is the choral symphony The Bells. The latest of these is the set of arrangements of three Russian folk songs, which Rachmaninoff made in 1926, eight years after leaving Russia to settle in the USA. It was first performed in Philadelphia in March 1927 – when it was given a better reception than the Fourth Piano Concerto, premiered in the same concert with the composer as soloist. Leopold Stokowski conducted the Philadelphia

Orchestra and the Toronto Mendelssohn Choir, reportedly augmented by some local Russian Orthodox priests with low bass voices.

The work is scored for a chorus of altos and basses, mostly singing in a single line, with a large orchestra including piano, harps and a substantial percussion section. It is based on songs that Rachmaninoff, no expert in folk music, would have heard sung by fellow-performers. ‘Over the River’ was frequently sung by his friend Fyodor Chaliapin, the great Russian bass; here it is assigned to unison basses. The song describes a drake being abandoned by his mate: although Rachmaninoff indulges in some orchestral quacks,

SergeRachmaninoff

1873–1943

three Russian Songs, Op. 41

London Philharmonic choir

1 Over a brook, a swift-running brook2 Oh, Vanka, what a hothead you are3 White of my cheeks, blush of my cheeks!


he brings great seriousness to bear on the duck’s panic and the drake’s desolation. ‘O Vanka’ was also sung by Chaliapin, who is said to have learned it from his mother. It is the song of a wife whose husband is leaving her for the winter, in order to live with his father. It is sung by unison altos; they depart from the tune only after the final verse, when two hummed chromatic descents through an octave merge with the orchestra’s lamentation. ‘Powder and Paint’ is a song from Kursk from the repertoire of the popular singer Nadezhda Plevitskaya, who recorded it with Rachmaninoff in his arrangement for voice and piano in February 1926. It is the song of a coquettish wife who has been flirting harmlessly, and who now expects to be beaten by her

husband with a silken whip. The melody is sung by altos and basses, mostly in octaves but sometimes in alternation and occasionally breaking into two or three parts, as part of continual changes rung on the simple tune with its three-bar phrases. Rachmaninoff’s orchestral arrangement is in strict march time, and suggests the sounds of the balalaika and the husband’s chastisement.

Three Russian Songs text

I Over a brook, a swift-running brookCherez rechku, rechku bystru,Po mostochku, kalina,Po krutomu, malina,Selzenat perekhodit,Po mostochku, kalina,Perekhodit, malina!Seru utku perevodit,Seru utku, kalina,Perevodit, malina!Sera utka ispugalas,Ispugulas kalina,Uletela, malina!A!Selezen stoit, plachet,Stoit, plachet, kalina,Stoit, plachet, malina!

Over a brook, a swift-running brook,across a little bridge, kalina,a steep little bridge, malina,a drake is making his way across,across the bridge, kalina,making his way, malina!He leads across a grey duck,a grey duck, kalina,he leads across, malina!The grey duck, she takes fright,takes fright, kalina,flies away, malina!Ah!The drake stands there weeping,stands weeping, kalina,stands weeping, malina!

Please turn the page quietly


Texts continued

2 Oh, Vanka, what a hothead you are!Akh, ty, Vanka, razudala golova, da!Razudalaya goluvushka, Vanka, tvoya!Skol daleche otyezzhayesh ot menya,da na kovo ty pokidayesh,milyi drug, menya?Akh, ni na brata,ni na druga svoyevo, da!A na svyokra, na zlodeya,Da, Vanka moyevo.S kem ya ostanusetu zimu zimavat, da!S kem ya budu tyomnu nochku,Vanka, karatat? A!

3 White of my cheeks, blush of my cheeks!Belilitsy, rumyanitsy, vy moi!Sokatites so litsa bela doloy,Yedet moy revnivy muzh domoy.Ay lyuli, ay da, lyushenki li!Yedet moy revnivyi muzh domoy,On vezyot podarok dorogoy.Ah da! Ay da!On vezyot podarok, dorogoy,Pletyonuyu sholkovuyu batozhu!Khochet menya, molodu, pobit.Ya zh ne znayu i ne vedayu, za shto,Z kakuyu, za takuyu za byadu.Tolko bylo vsey moyey to tut byady:U soseda na besede ya byla,Suprotivu kholastova sidela,Kholastomu stakan myodu podnesla.Khalastoy skan myodu prininimal,Ka stakanu bely ruki prikhimal,Pri narode sudarushkoy nazyval.Ty, sudarushka, lebyodushka moya,Ponravilas pokhodushka tvoya.Belilitsy, rumyanitsy vy mai!Sokatites sa litsa bela doloy.Yedet moy revnivyi muzh domoy,Khochet menya, molodu, pobit.Pravo slovo, khochet on menya pobit,Ya zh ne znayu i ne vedayu za shto.

Text and translation reprinted with kind permission from the Decca Music Group Ltd

Oh, Vanka, what a hothead you are!What a hot little head you’ve got!How far are you going away from me,who are you leaving me for,dear love?Oh, not for a brother,not for a friend, no,but for a villainous father-in-law,my Vanka.Who shall I be left withto pass the winterwho shall I spend the dark nights with,Vanka? Ah!

White of my cheeks, blush of my cheeks!Flow, my tears,for my jealous husband is riding home.Ay lyuli, ay da, lyushenki li!My jealous husband is riding home,bringing a precious gift.Ay da! Ay da!He is bringing a precious gift,a braided silken whip!He wants to beat me, young as I am,but I don’t know why,I don’t see what harm I’ve done.All the harm I ever did was this:I went to visit our neighbour,sat across from this single ladand offered him a cup of mead.As he took the cup of meadhe pressed my white hands to the cupand called me a lady in public.‘You, my lady, swan-like lady,how beautifully you carry yourself!’White of my cheeks, blush of my cheeks!Flow, my tears,for my jealous husband is riding home,he wants to beat me, young as I am,that’s the truth, he wants to beat me,but I don’t know why.

The Decca recording of the Op. 41 songs is available on CD 440 3552.


Programme notes continued

SergeRachmaninoff

1873–1943

Spring: cantata, Op. 20

Andrei bondarenko baritoneLondon Philharmonic choir

Rachmaninoff’s first work for chorus and orchestra was the cantata Spring, written in the first months of 1902 and first performed in Moscow that March. This was only a few months after the premiere of the Second Piano Concerto, with which the cantata has some melodic affinities – though its tonality of E, its proliferating triplet rhythms and its sombre colouring also anticipate the Second Symphony of 1906–7. The scoring is for large orchestra, mixed chorus and a solo voice that Rachmaninoff designated as baritone, though he seems to have conceived the part with the bass voice of his friend Chaliapin in mind. The work is a setting of a poem by the 19th-century writer Nikolay Nekrasov, ‘The sounds of green’. This tells the story of a peasant who in the depths of winter plans to kill his unfaithful wife; but the coming of spring – which in Russia brings a complete, sudden transformation of the frozen landscape – stays his hand, and induces a new feeling of compassion.

The orchestral introduction depicts the approach of spring; the chorus joins in to describe the first rustling sounds of the changing season. In a monologue of operatic declamation, the protagonist describes the uneasy winter spent cooped up with his wife in their hut; his despairing cry of ‘Kill, kill the betrayer’ is reinforced by the chorus, adding a series of wordless descending wails in octaves, and then resolutely

echoing his own words. As he picks up the knife, the orchestral music associated with the spring returns, and the chorus resumes and amplifies its description of the new season. A radiant cello melody, over harp arpeggios, presages the peasant’s change of mind and his hymn to love and forgiveness – which is taken up by the chorus, to its own music of the spring, before the subdued ending.

Text overleaf

Recommended recordings of tonight’s works

Rachmaninoff: three Russian SongsPhiladelphia Orchestra/Charles Dutoit[Decca 440 3552]

Enescu: Symphony no. 3BBC Philharmonic Orchestra/Rozhdestvensky [Chandos]

Interval – 20 minutesAn announcement will be made five minutes before the end of the interval.


Spring text

chorusIdyot-gudyot zelyonyi shum,Zelyonyi shum, vesenniy shum!

Igrayuchi raskhoditsyaVdrug veter verkhovoy:Kachnyot kusty olkhoviye,Podnimet pyl tsvetochnuyu,Kak oblako: vsyo zeleno,I vozdukh, i voda.

Idyot-gudyot zelyonyi shum, etc.

baritoneSkromna moya khozyayushkaNatalya Patrikeyevna,Vody ne zamutit!Da s ney beda sluchilasya,Kak leto zhil ya v gorode …Sama skazala, glupaya.

V izbe sam drug s obmanshchitseyZima nas zaperlaV moi glaza suroviyeGlyadit – molchit zhena.Molchu … a duma lyutayaPokoya ne dayot:Ubit … tak zhal serdechnuyu!Sterpet – tak sily nyet!A tut zima kosmatayaRevyot i den, i noch:‘Ubey, ubey izmennitsu!Zlodeya izvedi!Ne to ves vyek promayeshsya,Ni dnyom, ni dolgoy nochenkoyPokoya ne naidyosh …’Pod pesnyu-vyugu zimnuyuOkrepla duma lyutaya –

chorus‘Ubey, ubey izmennitsu!’

baritonePripas ya vostryi nozh …Da vdrug vesna podkralasya …

They come rustling, the sounds of green,the sounds of green, the sounds of spring!

All of a sudden the wind rises,swirls, playfully takes command:it shakes the alder groves,stirs up flower-dustlike a cloud; everything turns green:even the air and the waters.

They come rustling, the sounds of green, etc.

My sweet, modest wife,Natalya Patrikeyevna,isn’t one to stir things up!But she got herself into troublethat summer I spent in town …She told me herself, the fool.

Together in our hut, me and the woman,winter kept us prisoner;my wife stared into my stern eyesand remained silent.I too was silent … but a savage ideagave me no peace:to kill her … but what heartbreaking pity!To endure it – but I haven’t the strength!But grim winterhowled all day and all night:‘Kill, kill the betrayer!Destroy the wretched woman!Otherwise it will torment you all your life,neither by day nor during the long nightswill you ever find peace …’Listening to this song of the winter stormsthat savage idea grew in strength –

‘Kill, kill the betrayer!’

I took up a sharp knife …And then suddenly came the spring …


chorusIdyot-gudyot zelyonyi shum, etc.

Kak molokom oblitiye,Stoyat sady vishnoviye,Tikhokhonko shumyat.Prigrety tyoplym solnyshkom,Shumyat poveselyeliyeSosnoviye lesa.A ryadom novoy zelenyuLepechut pesnyu novuyuI lipa blednolistaya,I belaya beryozonkaS zelyonoyu kosoy.Shumit trostinka malaya,Shumit vysokiy klyon …Shumyat oni po novomu,Po novomu, vesennemu …

Idyot-gudyot zelyonyi shum, etc.

baritoneSlabeyet duma lyutaya,Nozh valitsya iz ruk,I vsyo mnye pesnya slyshitsyaOdnya – v lesu, v lugu:

baritone, chorus‘Lyubi, pokuda lyubitsya,Terpi, pokuda terpitsya,Proshchay, poka proshchayetsya,I – Bog tebe sudya!’

Nikolay Nekrasov (1821–78)


As though bathed in milky-whitestand the cherry orchards,gently rustling.Cherished in the warmth of the sunlight,there is the cheerful rustleof the pine forests.And alongside the new-born greenspreads the new songof the pale lime trees,and the silver bircheswith their tresses of green.There is a rustle of slender reeds,a rustle of the tall maples …They rustle anew,anew, with the spring …


The savage idea fades away,the knife falls from my hand,and the only song I hearis the single song of the woods and meadows:

‘Love, as long as you can love,endure, as long as you can endure,forgive, while you can forgive,and let God be your judge!’

Translation and transliteration © Andrew Huth

Interval – 20 minutesAn announcement will be made five minutes before the end of the interval.


GeorgeEnescu

1881–1955

Symphony no. 3 in c

London Philharmonic choirtrinity boys choir

1 Moderato, un poco maestoso2 Vivace, ma non troppo – Largo pesante – Tempo I3 Lento, ma non troppo

Programme notes continued

George Enescu was a musician of extraordinary gifts: a famous violinist and an accomplished pianist, an inspiring conductor, an impressive composer, a beloved teacher, and endowed with a phenomenal memory (he knew Wagner’s Ring cycle by heart). Born in Romania, the son of an estate manager, he began playing the violin at the age of four, and composing at five. He gained a place at the Vienna Conservatoire at seven, graduating five years later, and then went on to the Paris Conservatoire, where his composition teachers included Massenet and Fauré. He made his home in Paris, using it as a base for his playing career, as a solo violinist and a chamber musician on both violin and piano. But he made frequent return visits to Romania, where he was the founding conductor of a symphony orchestra and the national opera company, and used holiday periods to compose. His early music was inspired by Romanian folk music, but his later compositions were in a less nationalist vein, in the late-Romantic mainstream of Brahms, Wagner and Richard Strauss. His major works include an opera, Oedipe, which occupied him for many years before its premiere in 1936, and three symphonies. (Two further symphonies were among the many works which he planned in his head but left only in incomplete drafts; they have been the subject of posthumous completions.)

Enescu began writing his Third Symphony in Romania in May 1916, shortly before the country entered the First World War on the side of the Allies. He completed it in August 1918, a few months before the end of the War, and conducted its first performance in Bucharest in May 1919 – then revised it thoroughly before a performance in Paris in February 1921. The work is scored for an orchestra of over 100 players, including

two sets of timpani, celeste, piano, two harps and organ, together with a wordless mixed choir. Its three large-scale movements, the second a scherzo and the last slow, have prompted interpretations linking them with the three episodes of Dante’s Divine Comedy, most convincingly in the order Inferno, Purgatory, Paradise, or with the realms of Earth, Hell and Heaven. But Enescu never uttered a word to justify these notions, and the most that can safely be said is that the Symphony seems to take an all-encompassing view of the human condition before ending with a vision of religious peace.

The first movement sets out its thematic ideas, chiefly in the form of clusters of short inter-related motifs rather than extended melodies, in three groups: the first, of winding phrases over a sustained bass C and repeated timpani strokes, lyrical but clouded; the second, at an ‘agitated’ tempo, explosively angry; the third, of expressive melodic lines at a ‘tranquil’ tempo, romantically yearning. The central section, which mingles these themes and moods, works up to an intense climax, but ends with an interlude of calm. The reprise of the earlier themes, completely reworked, begins in this tranquil mood, and ends with an exultant climax and a glowing aftermath.

The second movement (in C minor) is a pulsing scherzo in 6/8 time (two groups of triplets to the bar) frequently overlaid by 3/4 cross-rhythms. Later, 6/8 turns into 2/4, with a brusque idea in a firm march rhythm. Motifs in all these metres are caught up in a nightmarish whirl. A sudden pause heralds a much slower trio section of ferocious attacks and brutal heaviness, during which the brass section is instructed to stand. In the wake of this assault, the scherzo is resumed at subdued dynamic levels.


The slow finale begins by establishing an atmosphere of hazy calm, before the muted violins embark on an extended melody, soon characteristically joined by counter-melodies in the woodwind. The wordless chorus enters, with a motif which is a smoothed-out transformation of the march idea of the scherzo. A solo viola leads off a section which begins hesitantly but gathers into an ecstatic climax. A religious atmosphere is established through the use of organ and bells – including a little bell ‘with a sonority similar to that of the bell sounded in Catholic churches at the Elevation of the Host’. Solo string lines drift upwards like incense, before the Symphony comes to a C major conclusion of the utmost serenity.

Programme notes © Anthony Burton

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets

Available to download or stream online via iTunes, Spotify, Amazon and others.

the Isle of the Dead Symphonic Dances

Vladimir Jurowski conductor London Philharmonic Orchestra

LPO-0004 | £9.99

Jurowski conducts Rachmaninoff on the LPO Label

‘The chill mists of The Isle of the Dead are masterfully evoked, the lugubrious colours beautifully shaded ... Jurowski’s slow-burning Rachmaninoff is irresistible.’The Independent on Sunday

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10008-CLASS LPO Concert Programme 73x69mm.pdf 1 14/11/2014 10:50


Next LPO concerts at Royal Festival Hall

Unless otherwise stated, tickets £9–£39 (premium seats £65)

London Philharmonic Orchestra ticket Office020 7840 4242 Monday–Friday 10.00am–5.00pm | lpo.org.uk | Transaction fees: £1.75 online, £2.75 telephone.

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Sunday 8 February 2015 | 12.00noon–1pm

Family concert: the Pied Piper of hamelin (world premiere)

Suitable for children aged 7 and over.

Vladimir Jurowski conductorMichael Morpurgo author/narratornatalie Walter narratorcolin Matthews composer

tickets £14–£18 adults, £7–£9 children

Commission generously supported by the PRS for Music Foundation.

Wednesday 11 February 2015 | 7.30pm Rachmaninoff: Inside Out

Stravinsky Symphony in Three Movements Rachmaninoff Piano Concerto No. 2 Rachmaninoff The Bells (Choral Symphony)

Vasily Petrenko conductor Jorge Luis Prats piano Anna Samuil soprano Daniil Shtoda tenor Andrei bondarenko baritone* London Philharmonic choir

* Please note a change to the artist as originally advertised.

Presented in co-operation with the Serge Rachmaninoff Foundation.

Free pre-concert event | 6.00–6.45pm Royal Festival hall LPO musicians have been working with GCSE music students from south-east London to explore the music of Rachmaninoff. They will perform their own new works for ensemble.

Friday 13 February 2015 | 7.30pm JtI Friday Series Rachmaninoff: Inside Out

Rachmaninoff Piano Concerto No. 4 (original version) Shostakovich Symphony No. 4

Vasily Petrenko conductor Alexander ghindin piano

Presented in co-operation with the Serge Rachmaninoff Foundation.

Free pre-concert event | 6.15–6.45pm Royal Festival hall Vasily Petrenko explores the impact of Rachmaninoff on a Russian conductor.

Saturday 21 February 2015 | 7.30pm

beethoven Overture, Leonore No. 3 beethoven Piano Concerto No. 3 beethoven Symphony No. 7

Marin Alsop conductor David Fray piano

Free pre-concert event | 6.00–6.45pm the clore ballroom at Royal Festival hall Animate Orchestra is an ‘orchestra for the 21st century’ run by the LPO with Trinity Laban Conservatoire of Music and Dance and four boroughs from south-east London. Tonight’s concert features dance music created by the orchestra in response to Beethoven’s Symphony No. 7, the ‘apotheosis of the dance’.


Friday 3 October 2014 | 7.30pm JTI Friday SeriesRachmaninoff The Isle of the Dead | Symphonic Dances | Piano Concerto No. 1 (original version)

Vladimir Jurowski conductor | Alexander ghindin piano

Wednesday 29 October 2014 | 7.30pmRachmaninoff Piano Concerto No. 3 | Symphony No. 2

Vassily Sinaisky conductor | Pavel Kolesnikov piano

Friday 7 November 2014 | 7.30pm JTI Friday SeriesVaughan Williams Fantasia on a Theme by Thomas Tallis Rachmaninoff Piano Concerto No. 4 (final version) tchaikovsky Symphony No. 1 (Winter Daydreams)

Osmo Vänskä conductor | nikolai Lugansky piano

Friday 28 November 2014 | 7.30pm JTI Friday SeriesWagner Overture, Tannhäuser Rachmaninoff Rhapsody on a Theme of Paganini tchaikovsky Symphony No. 4

David Zinman conductor | behzod Abduraimov piano

Wednesday 3 December 2014 | 7.30pmSzymanowski Concert Overture Scriabin Piano Concerto | Rachmaninoff Symphony No. 1

Vladimir Jurowski conductor | Igor Levit piano

Wednesday 21 January 2015 | 7.30pmWagner Das Rheingold (excerpts) Rachmaninoff The Miserly Knight (semi-staged)

Vladimir Jurowski conductor | Annabel Arden director

For full artist details see lpo.org.uk

Saturday 7 February 2015 | 7.30pmRachmaninoff Three Russian Songs | Spring Enescu Symphony No. 3

Vladimir Jurowski conductor | Andrei bondarenko baritone London Philharmonic choir

Wednesday 11 February 2015 | 7.30pmStravinsky Symphony in Three Movements Rachmaninoff Piano Concerto No. 2 | The Bells

Vasily Petrenko conductor | Jorge Luis Prats piano Anna Samuil soprano | Daniil Shtoda tenor Andrei bondarenko baritone | London Philharmonic choir

Friday 13 February 2015 | 7.30pm JTI Friday SeriesRachmaninoff Piano Concerto No. 4 (original version) Shostakovich Symphony No. 4

Vasily Petrenko conductor | Alexander ghindin piano

Wednesday 25 March 2015 | 7.30pmMozart Symphony No. 36 (Linz) | Dvořák Symphony No. 8 Rachmaninoff Piano Concerto No. 1 (final version)

Ilyich Rivas conductor | Dmitry Mayboroda piano

Wednesday 29 April 2015 | 7.30pmRachmaninoff Four Pieces | Ten Songs | Symphony No. 3

Vladimir Jurowski conductor | Vsevolod grivnov tenor

A year-long exploration of the composer’s life and music, at Southbank Centre’s Royal Festival Hall throughout 2014/15

tickets: £9–£39 (Premium seats £65)

See booking details on opposite page

Rachmaninoff: Inside Out is presented in co-operation with the Serge Rachmaninoff Foundation.

I N S I D E O U T


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Ralph Vaughan Williams:

Symphony No. 4 Ryan Wigglesworth conductor

Symphony No. 8 Vladimir Jurowski conductor

London Philharmonic Orchestra

New on the LPO Label: Vaughan Williams Symphonies Nos. 4 & 8

‘First-rate playing from the London Philharmonic Orchestra with a fine, warm bloom to the sound.’ Financial Times (Symphony No. 4)

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2015/16 season at the Royal Festival HallHighlights

2015Wednesday 23 SeptemberMahler Symphony No 7Vladimir Jurowski conductor

Wednesday 14 OctoberPenderecki conducts Penderecki Including UK premieres of Harp Concerto and Adagio for Strings

Saturday 31 OctoberBruckner Symphony No. 5Stanisław Skrowaczewski conductor

Friday 6 November A celebration of orchestral Mexican music Alondra de la Parra conductor JTI Friday Series

2016Shakespeare400The LPO joins many of London’s other leading cultural institutions in 2016 to celebrate the legacy of Shakespeare, 400 years since his death. Highlights include:

Wednesday 3 FebruaryDvorák Overture, Otello

Wednesday 10 FebruarySibelius The Tempest (extracts)

Friday 15 AprilProkofiev Romeo and Juliet (extracts) JTI Friday Series

Saturday 23 AprilAnniversary Gala concertIncluding:Verdi Otello and Falstaff (extracts)Music from Britten, Mendelssohn and WaltonVladimir Jurowski conductor Simon Callow director

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Principal benefactorsMark & Elizabeth AdamsLady Jane BerrillDesmond & 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 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 HurryMr Glenn Hurstfield

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hon. Life MembersKenneth Goode Carol Colburn Grigor CBE Pehr G GyllenhammarMrs Jackie Rosenfeld OBE

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Sound FutureS donorS

We are grateful to the following donors for their generous contributions to Sound Futures, which will establish our first ever endowment. Donations from those below have already been matched pound for pound by Arts Council England through a Catalyst Endowment grant.

By May 2015 we aim to have raised £1 million which, when matched, will create a £2 million fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre.

We thank those who are helping us to realise the vision.

Masur circle

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Charitable TrustDr Karen MortonRuth RattenburySir Bernard RixKasia RobinskiDavid Ross and Line Forestier (Canada)Carolina & Martin SchwabTom and Phillis SharpeDr Brian SmithMr & Mrs G SteinMiss Anne StoddartTFS Loans LimitedLady Marina VaizeyMs Jenny WatsonGuy & Utti Whittaker

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Rehmet Kassim-LakhaMr Geoffrey KirkhamPeter LeaverDrs Frank & Gek LimPeter MaceMr David MacfarlaneGeoff & Meg MannMarsh Christian TrustDr David McGibneyMichael & Patricia McLaren-TurnerJohn MontgomeryRosemary MorganParis NatarMr Roger H C PattisonThe late Edmund PirouetMr Michael PosenSarah & John PriestlandMr Christopher QuereeMr Peter RussellMr Alan SainerTim SlorickLady Valerie SoltiTimothy Walker AMLaurence WattMr R WattsDes & Maggie WhitelockChristopher WilliamsPeter Wilson SmithVictoria YanakovaMr Anthony Yolland

And all other donors who wish to remain anonymous


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 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

Samanta Berzina Finance 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

Lorna Salmon Intern

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.

Photograph of Rachmaninoff and Enescu courtesy of the Royal College of Music, London. Cover design: Chaos Design.

Printed by Cantate.

Documents

London Philharmonic Orchestra programme 7 February