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Principal Conductor VLADIMIR JUROWSKI Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader PIETER SCHOEMAN Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM†

SOUTHBANK CENTRE’S PROGRAMME £3 Saturday 25 September 2010 | 7.30 pm CONTENTS

VLADIMIR JUROWSKI conductor 2 List of Players OMAR EBRAHIM narrator 3 Vladimir Jurowski THE HILLIARD ENSEMBLE 4 The Hilliard Ensemble 5 Omar Ebrahim / PHILHARMONIC CHOIR Southbank Centre 6 London Philharmonic HAYDN Choir 7 Programme Notes (20’) Symphony No. 63 (La Roxelane) 13 History 14 Administration MATTEO D’AMICO 15 Supporters Flight from Byzantium (world première) * (23’) 16 Future Concerts

INTERVAL The timings shown are not precise and are given only as a guide. DUFAY Moribus et genere** ; Vergene bella**; Lamentatio Bar lines – FREE Post-Concert sanctae matris ecclesiae Constantinopolitanae** (15’) Event: Level 2 Foyer at Royal BARTÓK Festival Hall An informal discussion with The Miraculous Mandarin (complete) (30’) Vladimir Jurowski following the evening’s performance.

* Commissioned by the London Philharmonic Orchestra with the assistance of Sonja Drexler and the Orchestra Giovanile Italiana.

** The Hilliard Ensemble only

† supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA 55639 LPO 25 September 10_55639 LPO 25 September 10 20/09/2010 10:43 Page 2

LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINS Isabel Pereira Tomo Keller Guest Leader Daniel Cornford Sue Bohling Principal Lee Tsarmaklis Principal Vesselin Gellev Sub-Leader Alistair Scahill Chair supported by Julia Rumley Sarah Malcolm Julian and Gill Simmonds Chair supported by Miranda Davis Simon Carrington* Principal Mrs Steven Ward Karin Norlen Katalin Varnagy Nicholas Carpenter Principal PERCUSSION Catherine Craig CELLOS Katie Lockhart Andrew Barclay* Principal Thomas Eisner Kristina Blaumane Principal Paul Richards Chair supported by Tina Gruenberg Chair supported by Andrew Davenport Martin Höhmann Simon Yates and Kevin Roon E FLAT Keith Millar Chair supported by Francis Bucknall Katie Lockhart Guest Principal Jeremy Cornes Richard Karl Goeltz Laura Donoghue Sam Walton Geoffrey Lynn Santiago Sabino Carvalh o+ CLARINET Ignacio Molins Robert Pool Jonathan Ayling Paul Richards Principal Florence Schoeman Chair supported by Caroline, HARP Sarah Streatfeild Jamie and Zander Sharp Rachel Masters* Principal Yang Zhang Sue Sutherley Gareth Newman* Principal Alain Petitclerc Susanna Riddell Clare Webster Peter Nall Sibylle Hentschel Simon Estell Catherine Edwards Galina Tanney Tom Roff Rosie Banks CONTRA CELESTA SECOND VIOLINS Simon Estell Principal Bernard Robertson Clare Duckworth Principal DOUBLE BASSES Chair supported by Kevin Rundell* Principal HORNS ORGAN Richard and Victoria Sharp Laurence Lovelle John Ryan Principal Henry Parkes Joseph Maher George Peniston Alec Frank-Gemmill Guest Nancy Elan Richard Lewis Principal DUDUK Fiona Higham Kenneth Knussen Martin Hobbs Martin Robertson Marie-Anne Mairesse Joe Melvin Gareth Mollison Ashley Stevens Helen Rowlands Mark Vines OUD Sioni Williams Louis Garson James Ellis Heather Badke Peter Graham Paul Beniston* Principal Stephen Stewart Susan Thomas* Principal Anne McAneney* Mila Mustakova Joanna Marsh Chair supported by Sheila Law Stewart McIlwham* Geoff and Meg Mann * Holds a professorial Lisa Obert Nicholas Betts Co-Principal appointment in London Steve Dinwoodie PICCOLOS Stewart McIlwham* Principal + Chevalier of the Brazilian VIOLAS Joanna Marsh Mark Templeton* Principal Order of Rio Branco Rachel Roberts Guest Principal David Whitehouse Robert Duncan Susanne Martens Ian Hardwick Principal BASS Benedetto Pollani Angela Tennick Lyndon Meredith Principal Emmanuella Reiter-Bootiman Sue Bohling ASSISTANT CONDUCTOR Laura Vallejo Eduardo Portal

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

David and Victoria Graham Fuller John and Angela Kessler

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VLADIMIR JUROWSKI

CONDUCTOR

Vladimir Jurowski is a regular guest with many of the world’s leading including the Berlin Philharmonic, Oslo Philharmonic, Royal Concertgebouw, Bavarian Radio Symphony, Dresden Staatskapelle, and Philadelphia Orchestras as well as the Gewandhausorchester Leipzig. Highlights of n

o the 2010/11 season and beyond include his debuts s n i with the Vienna Philharmonic, Cleveland, San Francisco b o R Symphony and Mahler Chamber Orchestras, and return n e r visits to the Chicago Symphony, Chamber Orchestra of a K Europe, Berlin Philharmonic, Royal Concertgebouw, St Petersburg Philharmonic and Philadelphia Orchestras. Born in Moscow, the son of conductor Mikhail Jurowski, Vladimir Jurowski completed the first part of his His operatic engagements have included Jen ůfa, The musical studies at the Music College of the Moscow Queen of Spades and Hänsel und Gretel at the Conservatory. In 1990 he relocated with his family to Metropolitan , Parsifal and Wozzeck at Welsh where he continued his studies in Dresden National Opera, War and Peace at the Opéra National and Berlin, studying with and de Paris, Eugene Onegin at La Scala Milan, as well as Die vocal coaching with Semion Skigin. In 1995 he made his Zauberflöte, La Cenerentola, Otello, Macbeth, Falstaff, international debut at the Wexford Festival, where he Tristan und Isolde, Don Giovanni, The Rake’s Progress and conducted Rimsky-Korsakov’s . The same year Peter Eötvös’ Love and Other Demons at Glyndebourne saw his brilliant debut at the Covent Opera. Future engagements include new productions of Garden in Nabucco . In 1996 he joined the ensemble of Die Meistersinger and The Cunning Little Vixen at , becoming First Kapellmeister in Glyndebourne, Die Frau ohne Schatten at the 1997 and continuing to work at the Komische Oper on Metropolitan Opera, Ruslan and Ludmila at the Bolshoi a permanent basis until 2001. Theatre, and Iolanta at the Dresden Semperoper.

Since 1997 Vladimir Jurowski has been a guest at some Jurowski’s discography includes the first ever recording of the world’s leading musical institutions including the of Giya Kancheli’s cantata Exile for ECM (1994), L’Étoile Royal Opera House , Teatro La Fenice di du Nord by Meyerbeer for Naxos-Marco Polo (1996) and Venezia, Opéra Bastille de Paris, Théâtre de la Monnaie for BMG (1999) as well as live recordings of Bruxelles, Maggio Musicale Festival Florence, Rossini works by Rachmaninov, Turnage, Tchaikovsky, Britten, Opera Festival Pesaro, Edinburgh Festival, Semperoper Brahms and Shostakovich on the London Philharmonic Dresden and Teatro Comunale di Bologna (where he Orchestra’s own label, and Prokofiev’s Betrothal in a served as Principal Guest Conductor between 2000 and Monastery on Glyndebourne Opera’s own label. He also 2003). In 1999 he made his debut at the Metropolitan records for PentaTone with the Russian National Opera New York with Rigoletto . Orchestra, with releases to date including Tchaikovsky’s Suite No. 3 and Stravinsky’s Divertimento from Le Baiser In January 2001 Vladimir Jurowski took up the position de la fée , Shostakovich’s Symphonies Nos 1 and 6, of Music Director of Glyndebourne Festival Opera and Prokofiev’s Symphony No. 5 and Tchaikovsky’s Hamlet in 2003 was appointed Principal Guest Conductor of Incidental Music. Glyndebourne have released DVD the London Philharmonic Orchestra, becoming the recordings of his performances of La Cenerentola, Orchestra’s Principal Conductor in September 2007. He Gianni Schicchi, Die Fledermaus and Rachmaninov’s The also holds the title of Principal Artist of the Orchestra Miserly Knight . Other recent DVD releases include of the Age of Enlightenment, and from 2005 to 2009 Hänsel und Gretel from the Metropolitan Opera New served as Principal Guest Conductor of the Russian York, and his first concert as the London Philharmonic National Orchestra with whom he will continue to work Orchestra’s Principal Conductor featuring works by in the years ahead. Wagner, Berg and Mahler (released by Medici Arts).

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THE HILLIARD ENSEMBLE

DAVID JAMES countertenor ROGERS COVEY-CRUMP STEVEN HARROLD tenor GORDON JONES

on the research of Professor Helga Thoene, this is a unique interweaving of Bach’s Partita in D minor for solo violin with a selection of Chorale verses crowned by the epic Ciaconna , in which instrumentalist and vocalists are united.

The group continues in its quest to forge relationships with living composers, often in an orchestral context. In 1999, they premièred Miroirs des Temps by Unsuk Chin with the London Philharmonic Orchestra and . In the same year, James MacMillan’s d l

o Quickening , commissioned jointly by the BBC and the h n i

e , was premièred at the BBC R

n Proms. With Lorin Maazel and the New York u r d

e Philharmonic, they performed the world première of i r F Stephen Hartke’s 3rd Symphony and they recently Unrivalled for its formidable reputation in the fields of collaborated with the Munich Chamber Orchestra on a both early and new music, The Hilliard Ensemble is one new work by Erkki-Sven Tüür. In 2007 they joined forces of the world’s finest vocal chamber groups. Its with the Dresden Philharmonic Orchestra to première distinctive style and highly developed musicianship Nunc Dimittis by the Russian composer Alexander engage the listener as much in medieval and Raskatov, also recording this for ECM. Renaissance repertoire as in works specially written by living composers. A new development for the group began in August 2008 with the première at the Edinburgh International The group’s standing as an early music ensemble dates Festival of a music theatre project written by Heiner from the 1980s with its series of successful recordings Goebbels in a production by the Théâtre Vidy, for EMI (many of which have been re-released on Lausanne – I went to the house but did not enter. This Virgin) and its own mail-order record label hilliard LIVE, has subsequently been presented throughout Europe now available on the Coro label; but from the start it and the US. has paid equal attention to new music. The 1988 recording of Arvo Pärt’s Passio began a fruitful Highlights of their diary last season included premières relationship with both Pärt and the Munich-based in Cologne, Paris and New York of Et Lux , a substantial record company ECM, and was followed by their new work by Wolfgang Rihm for which they were recording of Pärt’s Litany . The group has recently joined by the Arditti Quartet; a weekend mini-festival commissioned other composers from the Baltic States, at London’s ; a visit to Australia’s Perth including Veljo Tormis and Erkki-Sven Tüür, adding to a International Arts Festival; the European première of rich repertoire of new music from Gavin Bryars, Heinz Stephen Hartke’s 3rd Symphony with Christoph Poppen Holliger, John Casken, James MacMillan, Elena Firsova and the Deutsche Radio Philharmonie Saarbrücken and many others. Kaiserslautern; and concerts with Jan Garbarek.

In addition to many a cappella discs, collaborations for ECM include most notably Officium and Mnemosyne with the Norwegian saxophonist Jan Garbarek, a partnership which continues to develop and renew itself, and Morimur with the German Baroque violinist Christoph Poppen and Monika Mauch. Based

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OMAR EBRAHIM SOUTHBANK NARRATOR CENTRE

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 Omar Ebrahim was a chorister at Coventry Cathedral and 1882, Skylon, Concrete and Feng Sushi, as well as subsequently studied at the Guildhall School of Music and cafes, restaurants and shops inside the Royal Festival Drama. He served his performing apprenticeship at the Hall, Queen Elizabeth Hall and Hayward Gallery. Royal Shakespeare Company and at Glyndebourne. He has If you wish to get in touch with us following your been involved with many contemporary by Osborne, visit please contact Kenelm Roberts, our Head of Tippett and Birtwistle for Glyndebourne Festival, Berio and Customer Relations, at Southbank Centre, Belvedere Birtwistle for Royal Opera House Covent Garden, Bose and Road, London SE1 8XX or email Lieberson for Munich Biennale and Tanglewood, as well as [email protected] or working regularly for City of Birmingham Touring Opera, phone 020 7960 4250. Almeida Opera, Basel Opera and Opera Factory where his roles ranged from Punch in Birtwistle’s Punch & Judy We look forward to seeing you again soon. through to Don Giovanni. More recently he has sung opera premières by Kris Defoort for La Monnaie Brussels, Liza Lim A few points to note for your comfort and for Elision Ensemble and Eötvös at the Châtelet Theatre enjoyment: Paris. He has also sung with New Israeli Opera, Scottish Opera and Opera Theatre Company Dublin. PHOTOGRAPHY is not allowed in the auditorium LATECOMERS will only be admitted to the He is particularly associated with the work Aventures, auditorium if there is a suitable break in the nouvelles aventures by Ligeti performing the piece to critical performance acclaim with ensembles worldwide and making several recordings. He regularly appears with leading RECORDING is not permitted in the auditorium contemporary groups including Ensemble Modern, London without the prior consent of Southbank Centre. Sinfonietta, Schoenberg Ensemble and Ensemble Southbank Centre reserves the right to confiscate Intercontemporain and has also appeared with the Los video or sound equipment and hold it in safekeeping Angeles Philharmonic New Music Group, Deutsches until the performance has ended Symphonie-Orchester, Netherlands Radio Orchestra, BBC MOBILES, PAGERS AND WATCHES should be Symphony, Northern Sinfonia, MusikFabrik Cologne, switched off before the performance begins Ensemble Recherche, Bochum Symphoniker and Ensemble Umze. He has sung at major festivals and concert halls worldwide including the BBC Proms, Lincoln Center New York and Salzburg Festival. Future plans include ’s In the Penal Colony with Music Theatre Wales, the première of Luc Brewaey’s L’intruse for Flanders Opera and further performances of Liza Lim’s The Navigator . Concerts include Enno Poppe’s Interzone with Ensemble Mosaik at the Huddersfield Festival and in s’Hertogenbosch, and new works by Liza Lim with Musikfabrik and Naomi Pinnock with .

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LONDON PHILHARMONIC CHOIR

PATRON: HRH Princess Alexandra ACCOMPANIST: Iain Farrington PRESIDENT: Sir Roger Norrington CHAIRMAN: Mary Moore ARTISTIC DIRECTOR: Neville Creed CHOIR MANAGER: Kevin Darnell

Sopranos Tess Bartley, Rebecca Brei, Sarah Brown, Olivia Morrison, Rachel Murray, Elisabeth Nicol, Angela Pascoe, Carter, Paula Chessell, Juyi Chou, Katja Cleasby, Sarah Helene Richards, Muriel Swijghuisen Reigersburg, Jenny Deane-Cutler, Alison Flood, Hannah Grace, Claudie Ryall, Harriet Shawcross, Vivienne Stockley, Tamara Gheno, Rachel Gibbon, Simone Gregoire, Jane Hanson, Swire, Curzon Tussaud, Susi Undewood, Margaret de Sally Harrison, Carolyn Hayman, Elizabeth Hicks, Alexa Valois Rowney, Mariken Van Dolen, Erika Weingarth Hills, Erin Hutchinson, Jenni Kilvert, Olivia Knibbs, Ilona Geir Andreassen, Simon Best, Chris Beynon, Kratochvilova, Frances Lake, Charlotte Lawrence, Joanna John Boyne, Brian Coulstock, James Crawford, Kevin Loxton, Olivia McDaid, Sophie Mearing-Smith, Linda Darnell, Dwayne Engh, Iain Handyside, Stephen Hodges, Park, Teresa Pells, Christine Rush, Sarah Skinner, Victoria Paul Thirer, Alex Thomas, Tony Wren Smith, Claire Spencer, Tania Stanier, Caroline Taunt, Rosanna Thomas, Susan Thomas, Jenny Torniainen, Basses Ken Atkinson, Jonathon Bird, Stephen Bonney, Nicola Ward, Fran Welch, Laura Westcott, Fran Wheare, Gordon Buky-Webster, Adam Bunzl, Geoff Clare, David Hannah Widmann Clark, Rob Collis, Phillip Dangerfield, Marcus Daniels, Ian Frost, Paul Gittens, Nigel Grieve, Christopher Harvey, Altos Joanna Arnold, Phye Bell, Susannah Bellingham, Mark Hillier, Stephen Hines, Rylan Holey, Hugh Hudson, Sam Castell Finegold, Noel Chow, Yvonne Cohen, Liz Martin Hudson, Aidan Jones, Steve Kirby, Ashley Cole, Janik Dale, Lauren Dibbs, Margaret Driver, Moira Morrison, John Murton, William Parsons, Johan Pieters, Duckworth, Andrea Easey, Carmel Edmonds, Regina Tony Piper, David Regan, Stephen Rosser, Daniel Frank, Clare Galton, Sophy Holland, Erica Howard, Kasia Snowman, Peter Sollich, Edwin Tomlins, James Hunt, Kate Jackson, Edith Judd, Andrea Lane, Marjana Torniainen, James Wilson, Hin-Yan Wong

Founded in 1947, the London Philharmonic Choir is The Choir appears regularly at the BBC Proms at the widely regarded as one of Britain’s finest choirs, Royal Albert Hall, its performances having included consistently meeting with great critical acclaim. It has Beethoven’s Symphony No. 9, Elgar’s The Dream of performed under leading international conductors Gerontius, Rachmaninov’s The Bells and the UK throughout its history and made numerous recordings premières of Mark-Anthony Turnage’s A Relic of Memory for CD, radio and television. Its Artistic Director is and Goldie’s Sine Tempore in the Evolution! Prom. The Neville Creed. Choir shared the stage with Daleks and other creatures at the Doctor Who Prom in 2008 and for a second time Enjoying a close relationship with the London in 2010. Philharmonic Orchestra, the Choir joins it regularly for concerts in the UK and abroad. Last season’s highlights The London Philharmonic Choir also works with other included performances of Mahler’s Symphony No. 2, leading orchestras. It has visited many countries in Mendelssohn’s Elijah , Haydn’s Seven Last Words, Europe and travelled as far afield as Kuala Lumpur, Honegger’s Une Cantate de Noël , Poulenc’s Stabat Hong Kong and Perth, Australia. In 2007, the Choir Mater, Janá ček’s The Eternal Gospel , Myaskovsky’s celebrated its 60th anniversary and published a book – Symphony No. 6 and Liszt’s A Faust Symphony. Most Hallelujah: An Informal History of the London recently, the Choir performed Mahler’s Symphony No. 3 Philharmonic Choir. The book is available from retail and in October will perform Dvo řák’s Te Deum and outlets here at Southbank Centre and can be ordered Stabat Mater . Future engagements in early 2011 through the Choir’s website. include Faure’s Requiem , Mahler’s Das klagende Lied , Holst’s and Elgar’s . The London Philharmonic Choir prides itself on Recently released CDs with the London Philharmonic achieving first-class performances from its members, Orchestra include Dvo řák’s Requiem conducted by who are volunteers from all walks of life. For more Neeme Järvi and Brahms’s Ein deutsches Requiem with information, including details about how to join, please Yannick Nézet-Séguin. visit www.lpc.org.uk.

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PROGRAMME NOTES

EAST AND WEST D’Amico, in which readings from the essay alternate with settings for vocal quartet of some of Brodsky’s lyrical In May 1453, Constantinople, the capital of the Nativity Poems , in Russian, against a vivid orchestral Byzantine Empire and the spiritual centre of the Eastern backdrop. Orthodox Church, was captured by the besieging forces of the Islamic Ottoman Empire. The event marked a These extremes of ancient and modern are flanked by seismic shift of power in the region, the repercussions of two orchestral works loosely picking up the subject of which have lasted to the present day. It provoked a encounters between East and West, but each focussing shocked reaction throughout Europe, reflected in the on an individual outsider. ‘La Roxelane’ is a character in a Lament which ends The Hilliard Ensemble’s group of play by Charles-Simon Favart, a French girl in a harem devotional pieces by the greatest composer of the age, who ensnares the Sultan not only into marriage but also Guillaume Dufay. into a power-sharing agreement: Joseph Haydn turned his incidental music for the play into his Symphony The city of Constantinople, once Byzantium and now No. 63. ‘The Miraculous Mandarin’ is the central figure in Istanbul, was the starting-point for a provocative essay Béla Bartók’s luridly thrilling ballet score, a mysterious by the Russian-American writer Joseph Brodsky, Flight Oriental visitor to a Western city who is enticed by a girl from Byzantium. This is also the title of tonight’s specially into a shabby room and attacked by thugs, but who commissioned cantata by the Italian composer Matteo cannot die until his longing for the girl is finally assuaged.

SYMPHONY NO. 63 IN C (LA ROXELANE) Joseph (first version)

HAYDN Allegro | Allegretto (o più tosto allegro) | Menuet and Trio: Allegretto | Finale: Prestissimo

1732-1809

As music director to the Esterházy family, Haydn was several sources over the second movement of the required to provide not only symphonies and other Symphony, strongly suggesting that it was specially works for the concert room, but also operas and written for the play. It is one of Haydn’s distinctive sets incidental music for the theatres at the grand palace of of double variations: a simple folk-like melody in Eszterháza. And, especially at busy periods, there was C minor and a fanfare-like theme in C major are sometimes a crossover between these two strands of presented and varied in turn, with the last major-key his output. In its original form, as reconstructed by the variation extended into a noisy coda. late H.C. Robbins Landon, the Symphony No. 63 seems to consist of music also used in early 1777 for a In the Symphony, this movement is preceded by a lively production by a visiting company of Soliman II, oder Die triple-time Allegro which is also known as the Overture drei Sultanninen , a translation of Charles-Simon Favart’s to Haydn’s comic opera Il mondo della luna , first comedy Les trois sultanes , ‘The sultan’s three wives’. The performed at Eszterháza in August 1777: it seems heroine of the play is Roxelane, a French girl in the plausible that it might previously have served as the harem of the Sultan Soliman, who charms the Sultan overture to Soliman II . And the work ends as usual with not only into marrying her but also into sharing his a minuet and trio and a quick finale. At some time in authority with her. And ‘La Roxelane’ is the title found in the late 1770s, probably in preparing the Symphony for

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PROGRAMME NOTES

publication, Haydn wrote two new, lightly scored, any version of the Symphony, must have come from the closing movements, and reduced the orchestration of same source. Both movements make a feature of abrupt the first movement to match them. But Robbins Landon dynamic contrasts: the finale especially, in recurring established that the original finale had been borrowed exchanges between a strong octave scale figure and – presumably for the play and then the Symphony – fragile passages for the violins alone. Haydn must surely from a torso of a C major symphony or overture which have seized on this movement for use in the play, to has survived in a manuscript of around 1773; and he represent the stern Sultan exerting his authority – concluded that the original minuet, no longer extant in before the wily Roxelane gains the upper hand.

FLIGHT FROM BYZANTIUM Matteo cantata on texts in prose and verse by Joseph Brodsky for speaker, vocal ensemble and orchestra D’AMICO OMAR EBRAHIM narrator THE HILLIARD ENSEMBLE (Speaker) – | Flight into Egypt – | (Speaker) – | For E.R. – | Born 1955 (Speaker) – | (Speaker) | Star of the Nativity | Lullaby

Surtitles for this performance by Andrew Huth . new capital on the Bosphorus opened up his Empire to Eastern autocratic, absolutist attitudes which were at Matteo D’Amico studied at the Conservatorio di Santa odds with the more open, democratic Roman tradition, Cecilia in his native Rome, and later with the and which were to persist through the thousand years distinguished composer and teacher Franco Donatoni. of the Byzantine Empire and right up to the Soviet He has been artistic director of the Accademia empire of the twentieth century. Excerpts from the Filarmonica Romana and the Teatro Comunale of essay are read at intervals throughout the work. But Bologna, and holds the chair of composition at the they alternate, and occasionally overlap, with settings Conservatorio di Santa Cecilia. His works have been for the four voices of The Hilliard Ensemble of some of widely performed in Italy and throughout mainland Brodsky’s Nativity Poems , reflections on the birth of Europe; they include operas and other theatrical pieces, Christ written, in Russian, throughout the author’s reflecting his long-standing interest in the relationship career. The vivid, often tense, backdrop to the speaking between music, poetry, theatre and dance, and several and singing voices is provided by a large orchestra, concert pieces involving the use of a speaking voice. which includes two traditional instruments of the Middle East, the double-reed duduk and the oud, or D’Amico wrote Flight from Byzantium in 2009/10 in lute. response to a joint commission from the London Philharmonic Orchestra, with support from Sonja In his preface to the score, the composer writes of Drexler, and the Orchestra Giovanile Italiana, the Italian Brodsky’s essay: ‘Historical rigour and lucid, prophetic Youth Orchestra. The work takes its title from a 1985 vision are the means by which he approached the great New Yorker essay by Joseph Brodsky (1940–1996), the question of relations between East and West – relations Leningrad-born writer who was expelled from the Soviet which in a few years were to turn into a dramatic clash. Union in 1972 and settled in the United States, winning … The recurring image of Byzantium as a point of a Nobel Prize for literature in 1987. Written after a visit balance between the East, always marching towards the to Istanbul, the former Constantinople, Brodsky’s essay West, and the West, always resisting its violence, brings argues that the Emperor Constantine’s creation of a us to a gloomy, disenchanted ending, with the author

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PROGRAMME NOTES

imagining himself drinking tea after a symbolic crossing of the East as “a metaphysical centre of humankind”. of the Bosphorus.’ D’Amico adds that the madrigalian Deeply imbued with spirituality, they trace a distinctive settings of four of Brodsky’s Nativity Poems provide emotional path which has many points of contact with ‘more intense, lyrical moments within this clear analysis the more rational content of the spoken sections.’

INTERVAL 20 minutes

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

Guillaume MORIBUS ET GENERE VERGENE BELLA DUFAY LAMENTATIO SANCTAE MATRIS ECCLESIAE CONSTANTINOPOLITANAE

THE HILLIARD ENSEMBLE ?1397-1474

Guillaume Dufay was the leading composer of the wide-ranging in style, belonging essentially to the late fifteenth century. He was a native of Cambrai in medieval period but often anticipating the innovations northern France, where he trained as a choirboy at the of the Renaissance. Cathedral, lived for substantial periods of his life, and died in his seventies. But, like many other French and Dufay’s four-voice Moribus et genere was probably Flemish composers of the time, he spent much of his written in Cambrai in 1442 or ’43, either for the career in southern Europe, working at various times in installation of a new Bishop or for a visit to the city by Rimini and in Bologna, at the Papal chapel in Rome, and the Duke of Burgundy. It is a late example of the at the court of the Dukes of Savoy. His large output ceremonial isorhythmic motet, a medieval genre of covers a wide variety of genres, both sacred (in Latin) formidable complexity which nevertheless inspired and secular (in French and Italian); and it is equally some of the composer’s finest invention. The piece is

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PROGRAMME NOTES

built around a ‘tenor’ part (the second tenor in this Dufay’s four-voice ‘Lament of the holy mother of the ensemble) which fits a passage of plainchant into a church of Constantinople’ is a reaction to the fall of the repeating rhythmic pattern in long held notes, then Byzantine capital Constantinople to the forces of the repeats this at successively faster speeds, in the Ottoman Empire in May 1453, an event which sent proportions 3:2:1. This tenor part is matched by a shock-waves through the whole of Europe. It is usually ‘second tenor’ (baritone) part, which goes through the said to have been performed in Lille in February 1454 at same speeding-up process. Above this, the more active the Feast of the Pheasant, a banquet held by Philip the ‘triplum’ and ‘motetus’ parts (countertenor and first Good of Burgundy to raise funds for a crusade against tenor) have a setting of a specially written Latin poem – the occupier. But it is now believed to be one of four but with the ‘triplum’ starting at the beginning and the such laments (the others are lost) which Dufay ‘motetus’ at the third stanza, so that their texts mentioned in a letter of (probably) 1456 as having been converge only at the end. composed the previous year, on texts sent from Naples. They may have been written for Pope Calixtus III, Vergene bella is a three-voice devotional song in Italian, another advocate of a crusade to reclaim a setting of a famous prayer to the Virgin Mary by the Constantinople for Christianity. The piece is written in fourteenth-century poet Francesco Petrarca (Petrarch). motet style, with a slow-moving ‘tenor’ part stating a It was probably written during one of Dufay’s first verse of Latin plainchant from the Book of sojourns in Italy in the 1420s. But, although an early Lamentations about the plight of the holy city of work, it sounds to our ears like a much more modern Jerusalem, then restating it in a different rhythm. piece than the motet – conceived not in horizontal Around this, the three other voices sing a French poetic layers but in terms of vertical harmony, and with text, a prayer on behalf of the equally dishonoured holy passages (such as the opening) of Renaissance-style city of Constantinople. imitation between the parts.

Moribus et genere Moribus et genere Christo coniuncte Iohannes, John, linked by birth and character to Christ, be present Huc ades affluereque iube dictaminis amnes. here, and bid the streams of eloquence abound. This Exercet plebs ista choros tibi, carmina pangit, congregation sings in chorus to thee, composes songs, Angelicos tangit cetus cantando decoros. and with its singing reaches the beauteous choirs of angels. Carne viror, sed mente cruor, sunt hec tibi dotes, In flesh vigour, but in mind gore, these are thy gifts; in Corde nitor, sermone decor, celi scala pontes. intellect elegance, in speech polish, heaven’s ladder, Virginitate fruens, niveo candore notate, bridges. 0 thou that art blessed with virginity, marked Te laudant olei profuse corpore gutte. with snowy whiteness, drops of oil poured forth on thy body praise thee. Virgo, virga virens, vires virtutibus affer Virgin, flowering rod, bring strength with thy virtues, Arteriisque pluens cantorum guttura profer, and, dropping like rain into their windpipes, prosper the Ut bene coniuncti concordi voce canentes singers’ throats, that as, joined well together, they sing Astra sonent celique boent hoc nectare fontes. with concordant voice, the stars may resound and the fountains of heaven shout with this nectar. Pectora, Christe, tua nimio veneranda decore Thy breast, O Christ, to be revered for its exceeding Discipuli pectus tetigit pietatis honore; beauty, the disciple’s breast touched in honourable Pectore discipulus domini cenando Iohannes piety; the disciple John reclines in dining on the Lord’s Incubat et lenes dulcis sopor occupat artus. breast, and sweet sleep overcomes his sluggish limbs.

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PROGRAMME NOTES

Circumfulsit eum rerum cognito clara Clear knowledge of all things shone round about him, Ut Patris hic filium cognovit origine mira. when he recognised the Father’s son of wondrous Extasis hec felix, hec visio certe beata, origin. This is a happy ecstasy, this is indeed a blessed Qua nexus cuiusque patet cognitio tanta. vision, whereby so much knowledge is revealed of every connection.

Gaudeat ecclesia, letetur chorus et omnes Let the church rejoice, let the chorus be cheerful, and Letentur populi per climata cuncta beandi; merry be all the peoples, to be blest over all the earth. Divio, diviciis nunc afflue, Divio dives, Dijon, abound now with riches, rich Dijon, and thou Huius et obsequiiis plus donativaque vives. Amen shalt live in his obedience and more generous. Amen. Tenor Virgo electus est a domino. The virginal man hath been chosen by the Lord.

Vergene bella Vergene bella, che di sol vestita, Beautiful virgin, clothed by the sun, Choronata di stelle al sommo sole Crowned with stars at the sun’s apogee, Piacesti, si, che’n te sua luce ascose; Blessed that He hid His light in you, Amor mi spigne a dir di te parole: Love urges me to address you Ma non so incominzar senza tua aita, But I do not know how to begin without your help E di colui ch’amando in te si pose. And that of him whom you bore. Invoco lei che ben sempre rispose I pray to the one who always answers those who call Chi la chiamò con fede. upon her with faith. Vergene, s’a mercede Virgin, be bountiful Miseria estrema dell’humana chose You never turn away from the misery of our human Gia mai ti volse al mio prego t’inchina. state, hear my prayer. Soccori a la mia guerra Help me in my struggle Bench’i sia terra, e tu del ciel reina. Even though I am earth and you the Queen of Heaven.

Lamentatio sanctae matris ecclesiae Constantinopolitanae O très piteux de tout espoir, fontaine, Most merciful source of all hope, Père du fils dont suis mère éplorée, Father of the son whose weeping mother I am, Plaindre me viens à ta cour souveraine I come to complain at your sovereign court De ta puissance et de nature humaine Of your authority and of human nature, Qui ont souffert, telle dure vilaine, Which have allowed such harsh cruelty Faire à mon fils qui tant m’a honorée, To be inflicted on my son, who has so honoured me; Dont suis de bien et de joie séparée, Whereby I have been parted from happiness and joy, Sans qui vivant veuille entendre mes plaintes. Without any living being who will hear my complaints. À toi, seul dieu, du forfait me complains To you, only God, I appeal from the sentence, Du gref tourment et douloureux outrage From the grievous torment and painful injury Que voit souffrir plus bel des humains That I watch the fairest of men suffer, Sans nul confort de tout humain lignage. With no consolation from your human speech. Tenor Omnes amici ejus spreverunt eam All her friends have betrayed her: Non est qui consoletur eam Among all her lovers Ex omnibus caris ejus. There is none to comfort her.

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PROGRAMME NOTES

Béla THE MIRACULOUS MANDARIN, OP. 19 BART ÓK LONDON PHILHARMONIC CHOIR

1881-1945

The Miraculous Mandarin was the last of Bartók’s three appearance by strident brass chords and trombone stage works. It is a narrative ballet, or ‘pantomime’, in slides, accompanied by shudders in the woodwind and one act, based on a scenario by the Hungarian writer strings. The girl is terrified by him, but at her Menyhért Lengyel. Bartók composed it in draft form in companions’ insistence she attempts to draw him into 1918 and ’19, scored it in 1923 for a large and colourful conversation. Eventually she overcomes her fear enough orchestra together with a wordless chorus, and revised to begin a dance, mostly in waltz time, which gradually it the following year. The work had an uneasy start to its becomes more and more erotic. The Mandarin watches life, chiefly because of what was seen as the indecency impassively, but at the end when the girl embraces him of its story. It was scheduled by the Budapest Opera but he begins to tremble with excitement. The girl recoils then dropped; it achieved one performance in Cologne and tries to escape. in November 1926 before it was banned; then, after a successful production in Prague, it was banned again in This gives rise to an extended, hectic chase, in which the Budapest in 1931 by the Hungarian government. Even Mandarin attempts to embrace the girl and she fights today it is rarely seen in the theatre. But the violent him off. At the climax of the chase, the thugs emerge inventiveness of the score has made it a familiar item in from their hiding-place, tear the Mandarin away from the concert hall, both in Bartók’s rather abruptly the girl, and strip him of his money and jewellery. They truncated Suite and in the full-length version that will decide to kill him, and suffocate him under the pillows be heard tonight. of the bed. But, to uncanny flickering figures in woodwind, piano, celesta and solo strings, the The ballet begins with a raucous prelude representing Mandarin’s head emerges, still looking longingly at the the crowded streets of a modern city. When this dies girl. An attempt to stab him with an old sword is equally down, the curtain rises on a shabby room in a slum unsuccessful. Finally, the thugs hang the Mandarin from district. Three thugs are turning out their pockets the lamp bracket in the ceiling. At the point where the without finding any money. They force the girl with wordless chorus joins the orchestra, his body begins to them to stand at the window, to lure men into the glow with an unearthly light, while his eyes remain room. The first of her three ‘games of enticement’ – fixed on the girl. At last she realises what has to be represented by increasingly elaborate cadenza-like done. She tells the thugs to take down the body, and episodes for the clarinets – attracts a down-at-heel old when the Mandarin lunges at her again, she offers no rake, who has no money and is quickly thrown out. The resistance, but returns his embrace. This act of second victim is a shy young man, whose graceful dance compassion releases the Mandarin from his torments, with the girl is rudely interrupted when the thugs and he dies. realise he too has no money. The third is the eerie Oriental figure of the Mandarin, represented on his first Programme notes by Anthony Burton © 2010

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LONDON PHILHARMONIC ORCHESTRA

Seventy-eight years after Sir founded Philharmonic Orchestra broadcasts regularly on domestic the London Philharmonic Orchestra, it is recognised and international television and radio. It also works with today as one of the finest orchestras on the international the Hollywood and UK film industries, recording stage. Following Beecham’s influential founding tenure soundtracks for blockbuster motion pictures including the Orchestra’s Principal Conductorship has been passed the Oscar-winning score for The Lord of the Rings trilogy from one illustrious musician to another, amongst them and scores for Lawrence of Arabia, The Mission, Sir , , Sir , Klaus Philadelphia and East is East. Tennstedt and . This impressive tradition continued in September 2007 when Vladimir Jurowski The London Philharmonic Orchestra made its first became the Orchestra’s Principal Conductor, and in a recordings on 10 October 1932, just three days after its further exciting move, the Orchestra appointed Yannick first public performance. It has recorded and broadcast Nézet-Séguin, its new Principal Guest Conductor from regularly ever since, and in 2005 established its own September 2008. record label. The recordings on its own label are taken mainly from live concerts given with distinguished The London Philharmonic Orchestra has been performing conductors over the years including the Orchestra’s at Southbank Centre’s Royal Festival Hall since it opened Principal Conductors from Beecham and Boult, through in 1951, becoming Resident Orchestra in 1992. It plays Haitink, Solti and Tennstedt, to Masur and Jurowski. there around 40 times each season with many of the world’s most sought after conductors and soloists. Recent additions to the catalogue have included Concert highlights in 2010/11 include an exploration of acclaimed releases of Elgar’s Symphony No. 1 and Sea Mahler’s symphonies and complete song cycles during Pictures with Vernon Handley and Janet Baker; Mahler’s the composer’s anniversary season; the première Symphony No. 2 conducted by ; Brahms’s performances of works by Matteo D’Amico, Magnus Symphonies Nos 1 and 2 conducted by Vladimir Jurowski; Lindberg and Brett Dean; a rare opportunity to hear and Dvo řák’s Requiem under the baton of Neeme Järvi. Rossini’s opera Aureliano in Palmira in collaboration with The Orchestra’s own-label CDs are also widely available long term partner Opera Rara; and works by the to download. Visit www.lpo.org.uk/shop for the latest Orchestra’s new Composer in Residence, Julian Anderson. releases.

In addition to its London season and a series of concerts The Orchestra reaches thousands of Londoners through at Wigmore Hall, the Orchestra has flourishing its rich programme of community and school-based residencies in Brighton and Eastbourne, and performs activity in Lambeth, Lewisham and Southwark, which regularly around the UK. It is unique in combining these includes the offshoot ensembles Renga and The Band, its concert activities with esteemed opera performances Foyle Future Firsts apprenticeship scheme for each summer at Glyndebourne Festival Opera where it outstanding young instrumentalists, and regular family has been the Resident Symphony Orchestra since 1964. and schools concerts.

The London Philharmonic Orchestra performs to To help maintain its high standards and diverse enthusiastic audiences all round the world. In 1956 it workload, the Orchestra is committed to the welfare of became the first British orchestra to appear in Soviet its musicians and in December 2007 received the and in 1973 made the first ever visit to China by a Association of British Orchestras/Musicians Benevolent Western orchestra. Touring continues to form a Fund Healthy Orchestra Bronze Charter Mark. significant part of the Orchestra’s schedule and is supported by Aviva, the International Touring Partner of There are many ways to experience and stay in touch the London Philharmonic Orchestra. Tours in 2010/11 with the Orchestra’s activities: visit www.lpo.org.uk, include visits to Finland, Germany, South Korea, France, subscribe to our podcast series, download our iPhone Belgium and Luxembourg. application and join us on Facebook and Twitter.

Having long been embraced by the recording, www.lpo.org.uk broadcasting and film industries, the London

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ADMINISTRATION

BOARD OF DIRECTORS GENERAL ADMINISTRATION ORCHESTRA PERSONNEL ARCHIVES Martin Höhmann Timothy Walker AM † Andrew Chenery Edmund Pirouet Chairman Chief Executive and Orchestra Personnel Manager Consultant Stewart McIlwham Artistic Director Sarah Thomas Philip Stuart Vice-Chairman Alison Atkinson Librarian Discographer Sue Bohling Digital Projects Manager Simon Carrington Michael Pattison Gillian Pole Lord Currie* Stage Manager Recordings Archive FINANCE Jonathan Dawson* Camilla Begg Anne McAneney David Burke Assistant Orchestra Personnel George Peniston General Manager and Manager LONDON PHILHARMONIC Sir Bernard Rix* Finance Director ORCHESTRA Kevin Rundell Ken Graham Trucking David Greenslade Sir Philip Thomas* Instrument Transportation 89 Albert Embankment Finance and IT Manager Sir John Tooley* (Tel: 01737 373305) London SE1 7TP The Rt Hon. Lord Wakeham DL* Tel: 020 7840 4200 CONCERT MANAGEMENT Timothy Walker AM † DEVELOPMENT Fax: 020 7840 4201 *Non-Executive Directors Roanna Chandler Box Office: 020 7840 4242 Nick Jackman Concerts Director THE LONDON Development Director www.lpo.org.uk Ruth Sansom Visit the website for full PHILHARMONIC TRUST Phoebe Rouse Artistic Administrator details of London Corporate Relations Manager Pehr Gyllenhammar Philharmonic Orchestra Graham Wood Chairman Sarah Tattersall activities. Concerts, Recordings and Desmond Cecil CMG Corporate Relations and Glyndebourne Manager The London Philharmonic Richard Karl Goeltz Events Manager Orchestra Limited is a Jonathan Harris CBE FRICS Alison Jones Melissa Van Emden registered charity No. 238045. Dr Catherine C. Høgel Concerts Co-ordinator Corporate Relations and Martin Höhmann Photographs of Haydn and Jenny Chadwick Events Officer Angela Kessler Bartók courtesy of the Royal Clive Marks OBE FCA Tours and Engagements Elisenda Ayats College of Music, London. Victoria Sharp Manager Development and Finance Julian Simmonds Photograph on the front cover Jo Orr Officer Timothy Walker AM † by Karen Robinson. PA to the Executive / Laurence Watt Elizabeth Grew Concerts Assistant Programmes printed by Intern Cantate. AMERICAN FRIENDS OF THE Matthew Freeman LONDON PHILHARMONIC Recordings Consultant MARKETING ORCHESTRA, INC. EDUCATION AND Kath Trout We are very grateful to the COMMUNITY PROGRAMME Marketing Director Board of the American Friends of the London Philharmonic Matthew Todd Ellie Dragonetti Orchestra for its support of Education and Marketing Co-ordinator the Orchestra’s activities in Community Director Frances Cook the USA. Anne Findlay Publications Manager Education Officer Samantha Kendall PROFESSIONAL SERVICES Isobel Timms Box Office Administrator Charles Russell Community Officer (Tel: 020 7840 4242) Solicitors Alec Haylor Josephine Langston Horwath Clark Whitehill LLP Education and Temporary Marketing Assistant Auditors Community Assistant Charly Fraser-Annand Dr Louise Miller Richard Mallett Intern Honorary Doctor Education and Valerie Barber †Supported by Macquarie Group Community Producer Press Consultant (Tel: 020 7586 8560)

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

Thomas Beecham Group Mr Daniel Goldstein Ken Follett Mr & Mrs Richard & Victoria Sharp Mrs Barbara Green Michael & Christine Henry Julian & Gill Simmonds Mr Ray Harsant Mr Glenn Hurstfield Mrs Steven Ward Oliver Heaton Mr R K Jeha Simon Yates & Kevin Roon Peter MacDonald Eggers Mr & Mrs Maurice Lambert Mr & Mrs David Malpas Mr Gerald Levin Garf & Gill Collins Andrew T Mills Sheila Ashley Lewis Andrew Davenport Mr Maxwell Morrison Wg. Cdr. & Mrs M T Liddiard David & Victoria Graham Fuller Mr Michael Posen OBE JP RAF Richard Karl Goeltz Mr & Mrs Thierry Sciard Mr Frank Lim John & Angela Kessler Mr John Soderquist & Mr Costas Paul & Brigitta Lock Mr & Mrs Makharinsky Michaelides Mr Brian Marsh Geoff & Meg Mann Mr & Mrs G Stein John Montgomery Caroline, Jamie & Zander Sharp Mr & Mrs John C Tucker Mr & Mrs Egil Oldeide Eric Tomsett Howard & Sheelagh Watson Edmund Pirouet Mr Laurie Watt Mr Peter Tausig Guy & Utti Whittaker Mr Anthony Yolland Mrs Kazue Turner Lady Marina Vaizey Principal Benefactors Benefactors Mr D Whitelock Mark & Elizabeth Adams Mrs A Beare Jane Attias Dr & Mrs Alan Carrington Lady Jane Berrill CBE FRS Hon. Benefactor Desmond & Ruth Cecil Marika Cobbold & Michael Elliott Bernerd Mr John H Cook Patchett-Joyce Mrs Sonja Drexler Mr & Mrs Stewart Cohen Hon. Life Members Mr Charles Dumas Mr Alistair Corbett Kenneth Goode David Ellen Mr David Edgecombe Mrs Jackie Rosenfeld OBE Commander Vincent Evans Mr Richard Fernyhough

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged. Corporate Members Trusts and Foundations UK Friends of the Felix- Appleyard & Trew llp Allianz Cultural Foundation Mendelssohn-Bartholdy British American Business The Andor Charitable Trust Foundation Brown Brothers Harriman Ruth Berkowitz Charitable Trust The Mercers’ Company Charles Russell The Boltini Trust Adam Mickiewicz Institute Destination Québec – UK Borletti-Buitoni Trust Paul Morgan Charitable Trust Diagonal Consulting The Candide Charitable Trust Maxwell Morrison Charitable Trust Lazard The John S Cohen Foundation Musicians Benevolent Fund Leventis Overseas The Coutts Charitable Trust The R K Charitable Trust Man Group plc The Dorset Foundation Serge Rachmaninoff Foundation Québec Government Office in London The D’Oyly Carte Charitable Trust The Rubin Foundation Dunard Fund The Samuel Sebba Charitable Trust Corporate Donor The Equitable Charitable Trust Sound Connections Lombard Street Research The Eranda Foundation The Steel Charitable Trust In-kind Sponsors The Ernest Cook Trust The Bernard Sunley Charitable Google Inc The Fenton Arts Trust Foundation Heineken The Foyle Foundation John Thaw Foundation The Langham London The Jonathan & Jeniffer Harris Trust The Sir Jules Thorn Charitable Trust Lindt & Sprüngli Ltd The Idlewild Trust The Underwood Trust Sela / Tilley’s Sweets The Emmanuel Kaye Foundation Garfield Weston Foundation Villa Maria John Lyon’s Charity Youth Music Maurice Marks Charitable Trust The Michael Marks Charitable Trust and others who wish to remain Marsh Christian Trust anonymous.

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FUTURE CONCERTS

AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

JTI FRIDAY SERIES Wednesday 13 October 2010 | 7.30pm Friday 1 October 2010 | 7.30pm Al largo (UK première)* Fauré Suite, Pelléas et Mélisande Mendelssohn Violin Concerto Saint-Saëns Piano Concerto No. 2 Walton Symphony No. 1 Stravinsky The Rite of Spring Osmo Vänskä conductor Yan Pascal Tortelier conductor Agata Szymczewska violin piano 6.00pm–6.45pm | FREE Pre-Concert Event Royal Festival Hall A performance by children participating in the Bridge Project, a music education initiative in partnership with London Music Masters. For more information see Yan Pascal Tortelier www.londonmusicmasters.org and Behzod Abduraimov *Commissioned by the Orchestra, London Philharmonic Orchestra and Casa da Musica Porto. Wednesday 6 October 2010 | 7.30pm Suk Scherzo fantastique Chopin Piano Concerto No. 2 Dvo řák Symphony No. 9 (From the New World) Neeme Järvi conductor Osmo Vänskä and Evgeny Kissin piano Agata Szymczewska

JTI FRIDAY SERIES Friday 15 October 2010 | 7.30pm Berlioz Overture, Benvenuto Cellini Elgar Cello Concerto Neeme Järvi and Evgeny Kissin R Strauss Ein Heldenleben David Zinman conductor Saturday 9 October 2010 | 7.30pm Truls Mørk cello Dvo řák Te Deum Dvo řák Stabat Mater Neeme Järvi conductor Janice Watson soprano TO BOOK Sara Fulgoni mezzo soprano Tickets £9-£38 | Premium seats £55 Peter Auty tenor 6 October only: Tickets £12-£45 | Premium seats £60 Peter Rose bass London Philharmonic Orchestra Ticket Office London Philharmonic Choir 020 7840 4242 | www.lpo.org.uk Mon-Fri 10am-5pm; no booking fee Southbank Centre Ticket Office | 0844 847 9920 www.southbankcentre.co.uk/lpo Daily, 9am-8pm. £2.50 telephone / £1.45 online booking Janice Watson and fees; no fee for Southbank Centre members Peter Auty

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