56238 LPO 27 October 10_56238 LPO 27 October 10 20/10/2010 12:15 Page 1

Principal Conductor 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†

MAHLER ANNIVERSARY PROGRAMME £3

CONTENTS SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Wednesday 27 October 2010 | 7.30pm 2 List of Players 3 Orchestra History 4 Leader 5 Vladimir Jurowski VLADIMIR JUROWSKI 6 conductor 7 Programme Notes 12 Southbank Centre SARAH CONNOLLY 13 Supporters 14 Recordings mezzo soprano 15 Administration 16 Future Concerts

The timings shown are not MENDELSSOHN precise and are given only as a guide. Symphony No. 5 in D (Reformation) (33’)

MAHLER Kindertotenlieder (23’)

INTERVAL

BRAHMS Symphony No. 3 in F (33’)

† supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA 56238 LPO 27 October 10_56238 LPO 27 October 10 20/10/2010 12:15 Page 2

LONDON PHILHARMONIC ORCHESTRA

FIRST BASS * Holds a professorial Pieter Schoeman* Leader Kristina Blaumane Principal Paul Richards Principal appointment in London Vesselin Gellev Sub-Leader Chair supported by Chair supported by Simon Yates and Kevin Roon BASSOONS + Chevalier of the Brazilian John and Angela Kessler Francis Bucknall Gareth Newman* Principal Order of Rio Branco Julia Rumley Laura Donoghue Stuart Russell Katalin Varnagy Santiago Sabino Carvalh o+ Simon Estell Catherine Craig Jonathan Ayling ASSISTANT CONDUCTOR Thomas Eisner Chair supported by Caroline, CONTRA BASSOONS Nicholas Collon Tina Gruenberg Jamie and Zander Sharp Simon Estell Principal Martin Höhmann Gregory Walmsley Claire Webster Chair supported by Sue Sutherley Richard Karl Goeltz Susanna Riddell HORNS Geoffrey Lynn Tom Roff Abel Pereira Guest Principal Robert Pool David Bucknall Martin Hobbs Sarah Streatfeild Timothy Ball Yang Zhang DOUBLE BASSES Gareth Mollison Kevin Rundell* Principal Marcus Bates SECOND VIOLINS Tim Gibbs Co-Principal Clare Duckworth Principal Laurence Lovelle Chair supported by George Peniston Nicholas Betts Principal Richard and Victoria Sharp Joe Melvin Anne McAneney* Jeongmin Kim Tom Walley Chair supported by Joseph Maher Helen Rowlands Geoff and Meg Mann Kate Birchall Louis Garson Chair supported by David and Victoria Graham Fuller Mark Templeton* Principal Nancy Elan Jaime Martin* Principal David Whitehouse Fiona Higham Jane Spiers Marie-Anne Mairesse Stewart McIlwham* BASS Ashley Stevens Lyndon Meredith Principal Dean Williamson PICCOLO Sioni Williams Stewart McIlwham* Principal TIMPANI Heather Badke Simon Carrington* Principal Peter Graham Ian Hardwick Principal PERCUSSION VIOLAS Angela Tennick Andrew Barclay* Principal Alexander Zemtsov* Principal Chair supported by Chair supported by Andrew Davenport The Tsukanov Family Sue Bohling Principal Robert Duncan Chair supported by HARP Katharine Leek Julian and Gill Simmonds Rachel Masters* Principal Susanne Martens Benedetto Pollani CELESTE Emmanuella Reiter-Bootiman Nicholas Carpenter Principal Catherine Edwards Alistair Scahill Emily Meredith Isabel Pereira Daniel Cornford Miranda Davis

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LONDON PHILHARMONIC ORCHESTRA

Patrick Harrison

Seventy-eight years after Sir founded residencies in Brighton and Eastbourne, and performs the London Philharmonic Orchestra, it is recognised regularly around the UK. It is unique in combining these today as one of the finest orchestras on the international concert activities with esteemed performances stage. Following Beecham’s influential founding tenure each summer at Glyndebourne Festival Opera where it the Orchestra’s Principal Conductorship has been passed has been the Resident Symphony Orchestra since 1964. from one illustrious musician to another, amongst them Sir , , Sir , Klaus The London Philharmonic Orchestra performs to Tennstedt and . This impressive tradition enthusiastic audiences all round the world. In 1956 it continued in September 2007 when Vladimir Jurowski became the first British orchestra to appear in Soviet became the Orchestra’s Principal Conductor and, in a Russia and in 1973 made the first ever visit to China by a further exciting move, the Orchestra appointed Yannick Western orchestra. Touring continues to form a Nézet-Séguin its new Principal Guest Conductor from significant part of the Orchestra’s schedule and is September 2008. supported by Aviva, the International Touring Partner of the London Philharmonic Orchestra. Tours in 2010/11 The London Philharmonic Orchestra has been performing include visits to Finland, , South Korea, Spain, at Southbank Centre’s Royal Festival Hall since it opened France, Belgium and Luxembourg. in 1951, becoming Resident Orchestra in 1992. It plays there around 40 times each season with many of the Having long been embraced by the recording, world’s most sought after conductors and soloists. broadcasting and film industries, the London Concert highlights in 2010/11 include an exploration of Philharmonic Orchestra broadcasts regularly on domestic Mahler’s symphonies and complete song cycles during and international television and radio. It also works with the composer’s anniversary season; the premières of the Hollywood and UK film industries, recording works by Matteo D’Amico, Magnus Lindberg and Brett soundtracks for blockbuster motion pictures including Dean; a rare opportunity to hear Rossini’s opera Aureliano the Oscar-winning score for The Lord of the Rings trilogy in Palmira in collaboration with long term partner Opera and scores for Lawrence of Arabia, The Mission, Rara; and works by the Orchestra’s new Composer in Philadelphia and East is East. Residence, Julian Anderson. The London Philharmonic Orchestra made its first In addition to its London season and a series of concerts recordings on 10 October 1932, just three days after its at Wigmore Hall, the Orchestra has flourishing first public performance. It has recorded and broadcast

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LONDON PHILHARMONIC ORCHESTRA PIETER SCHOEMAN

LEADER n o s i r r a H

regularly ever since, and in 2005 established its own In 2002, Pieter Schoeman k c i r t

record label. The recordings on its own label are taken joined the London a mainly from live concerts given with distinguished Philharmonic Orchestra as P conductors over the years including the Orchestra’s Co-Leader. In 2008 he was appointed Leader. Principal Conductors from Beecham and Boult, through Haitink, Solti and Tennstedt, to Masur and Jurowski. Born in South Africa, he made his solo debut with the Cape Town Symphony Orchestra at the age of ten. He Recent additions to the catalogue have included studied with Jack de Wet in South Africa, winning acclaimed releases of Elgar’s Symphony No. 1 and Sea numerous competitions, including the 1984 World Youth Pictures with Vernon Handley and Janet Baker; Mahler’s Concerto Competition in America. In 1987 he was offered Symphony No. 2 conducted by Klaus Tennstedt; Brahms’s the Heifetz Chair of Music scholarship to study with Symphonies Nos 1 and 2 conducted by Vladimir Jurowski; Eduard Schmieder in Los Angeles and in 1991 his talent and Dvo řák’s Requiem under the baton of Neeme Järvi. was spotted by Pinchas Zukerman who recommended The Orchestra’s own-label CDs are also widely available that he move to New York to study with Sylvia Rosenberg. to download. Visit www.lpo.org.uk/shop for the latest In 1994 he became her teaching assistant at Indiana releases. University, Bloomington.

Pieter Schoeman has performed as a soloist and recitalist ‘ … a simply tremendous performance of throughout the world in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Mahler’s 3rd Symphony … Jurowski and his Hall, Capella Hall in St Petersburg, Staatsbibliothek in players plunged us into a winter of Berlin, Hollywood Bowl in Los Angeles and Queen discontent so profoundly expectant that Elizabeth Hall in London. As a chamber musician he even the inveterate coughers were silenced.’ regularly performs at London’s prestigious Wigmore Hall. EDWARD SECKERSON, THE INDEPENDENT, As a soloist with the London Philharmonic Orchestra, he 23 SEPTEMBER 2010 has performed Arvo Pärt’s Double Concerto with Boris Garlitsky and Benjamin Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released The Orchestra reaches thousands of Londoners through on the Orchestra’s own record label to great critical its rich programme of community and school-based acclaim. Earlier this season he performed the Brahms activity in Lambeth, Lewisham and Southwark, which Double Concerto with Kristina Blaumane. includes the offshoot ensembles Renga and The Band, its Foyle Future Firsts apprenticeship scheme for In 1995 Pieter Schoeman became Co-Leader of the outstanding young instrumentalists, and regular family Orchestre Philharmonique de Nice. Since then he has and schools concerts. performed frequently as Guest Leader with the symphony orchestras of Barcelona, Bordeaux, Lyon, To help maintain its high standards and diverse workload, Baltimore and the BBC Symphony Orchestra. This season the Orchestra is committed to the welfare of its he has been invited to lead the Rotterdam musicians and in December 2007 received the Philharmonic on several occasions. Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark. Pieter Schoeman has recorded numerous solos with the London Philharmonic Orchestra for Chandos, There are many ways to experience and stay in touch Opera Rara, Naxos, X5, the BBC and for American film with the Orchestra’s activities: visit www.lpo.org.uk, and television. He led the Orchestra in its soundtrack subscribe to our podcast series, download our iPhone recordings for The Lord of the Rings trilogy. He teaches at application and join us on Facebook and Twitter. Trinity College of Music in London.

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VLADIMIR JUROWSKI

CONDUCTOR

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

n the 2010/11 season and beyond include his debuts o 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 , Parsifal and Wozzeck at Welsh Germany where he continued his studies in Dresden National Opera, War and Peace at the Opéra National and Berlin, studying with Rolf Reuter 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 May Night . The same year Peter Eötvös’ Love and Other Demons at Glyndebourne saw his brilliant debut at the Royal Opera House 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 Komische Oper Berlin, becoming First Kapellmeister in Glyndebourne, Die Frau ohne Schatten at the 1997 and continuing to work at the Komische Oper on Metropolitan Opera, Russlan and Ludmila at the Bolshoi a permanent basis until 2001. Theatre, and Iolanta at the Dresden .

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 Exil for ECM (1994), L’Étoile Royal Opera House Covent Garden, Teatro La Fenice di du Nord by Meyerbeer for Naxos-Marco Polo (1996), Venezia, Opéra Bastille de Paris, Théâtre de la Monnaie and Werther for BMG (1999) as well as live recordings Bruxelles, Maggio Musicale Festival Florence, Rossini of works by Rachmaninov, Turnage, Tchaikovsky, Britten, Opera Festival Pesaro, Edinburgh Festival, Semperoper Brahms and Shostakovich on the London Philharmonic Dresden and the 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 , and 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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SARAH CONNOLLY

MEZZO SOPRANO

Opera, New York, the Paris Opera, the Liceu in Barcelona, the Glyndebourne Festival and the Royal Opera House, Covent Garden.

Sarah Connolly has appeared in recital in London and New York and her many concert engagements include appearances at the Salzburg Festival, Tanglewood Festival, BBC Proms, Vienna Konzerthaus, Berlin Philharmonie and Amsterdam Concertgebouw with many of the world’s great orchestras. Her recent engagements have included performances of The Dream of Gerontius with the Boston Symphony Born in County Durham, mezzo soprano Sarah Connolly Orchestra and Sir ; Mahler’s Das Lied von der studied and singing at the Royal College of Music, Erde with the Royal Concertgebouw Orchestra and of which she is now a Fellow. She was made CBE in the Harding; the St Matthew Passion and Des Knaben 2010 New Year’s Honours List. Wunderhorn with Herreweghe; and Mozart’s Requiem with Ivor Bolton in Salzburg. She is committed to In opera, her recent engagements have included the promoting new music, her world première role of Dido in Purcell’s Dido and Aeneas at the Royal performances having included Mark-Anthony Turnage’s Opera House Covent Garden, La Scala Milan and La Twice through the heart with the Schoenberg Ensemble Monnaie, Brussels; the title role in Giulio Cesare and conducted by ; Jonathan Harvey’s Songs Brangäne in Tristan und Isolde at the Glyndebourne of Li Po at the Aldeburgh Festival and, most recently, Sir Festival; the title roles in Gluck’s Orfeo and Britten’s The John Tavener’s Tribute to Cavafy at Symphony Hall, Rape of Lucretia at the Bayerische Staatsoper, Munich; Birmingham. and Nerone in L’Incoronazione di Poppea at the Gran Teatro del Liceu in Barcelona and at the Maggio She is a prolific recording artist, her many discs Musicale in Florence. She has also sung the title role in including Purcell’s Dido and Aeneas with the Orchestra Maria Stuarda and Romeo in I Capuleti e i Montecchi for of the Age of Enlightenment; Des Knaben Wunderhorn Opera North; Octavian in Der Rosenkavalier for Scottish with L’Orchestre des Champs-Élysées and Herreweghe Opera; and Sesto in Giulio Cesare at the Paris Opera. In (winner of an Edison Award); Elgar’s Sea Pictures with the USA she has sung Komponist in Ariadne auf Naxos the Bournemouth Symphony Orchestra for Naxos and Annio in La clemenza di Tito at the Metropolitan (nominated for a Grammy Award); Mozart’s Mass in Opera, New York; the title role in Ariodante and Romeo C minor and Haydn’s Scena di Berenice with the Gabrieli in I Capuleti e i Montecchi for New York City Opera and Consort and McCreesh for Deutsche Grammophon; Ino and Juno in Semele in San Francisco. Handel’s Solomon for Harmonia Mundi; and Giulio Cesare on DVD for Opus Arte. Her recording of Handel She is a favourite at the where arias with The Sixteen and Harry Christophers was her roles have included Octavian; the title roles in described as ‘the definition of captivating’ and her two Handel's Agrippina, Xerxes and Ariodante as well as recital discs The Exquisite Hour and Songs of Love and Ruggiero in Handel’s Alcina; the title role in The Rape of Loss have both won universal critical acclaim. She also Lucretia; Ottavia in L'Incoronazione di Poppea; Dido in recorded the soundtrack Fragments of a Prayer by Sir Dido and Aeneas and The Trojans ; Romeo; Susie in The John Tavener for the feature film Children of Men. Silver Tassie ; and Sesto in La clemenza di Tito for which she was nominated for an Olivier Award for Sarah Connolly studies with Gerald Martin Moore. Outstanding Achievement in Opera. Visit her website: sarah-connolly.com for more Future engagements include her debut at the Aix-en- information. Provence Festival and returns to the Metropolitan

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PROGRAMME NOTES

SPEEDREAD to Bach, or a pièce d’occasion ? Mahler’s heartrending ‘Songs on the Death of Children’ are inseparable in the Each of the three works in tonight’s concert invites us to listener’s mind from the early death of one of his own speculate on the nature and level of its composer’s daughters, yet were composed well before that event. personal involvement. Coming from a baptised Jew, And Brahms’s Third Symphony makes prominent use of a Mendelssohn’s symphony explicitly focusing on the personal motto theme, but offers no further clues as to Protestant Reformation as a subject asks questions what it may signify. In the end, we have to let our ears about his motives – is it a statement of faith, a homage and emotions guide us.

Felix SYMPHONY NO. 5 IN D, OP. 107 (REFORMATION) Andante – Allegro con fuoco | Allegro vivace | Andante | MENDELSSOHN Andante con moto – Allegro maestoso

1809-1847

Despite its numbering and opus number, Mendelssohn’s he had conducted the first performance since Bach’s day ‘Reformation’ Symphony was actually his second for full of the St Matthew Passion ; furthermore, he had himself orchestra, predating both the ‘Scottish’ and ‘Italian’. He composed a number of works based on Lutheran hymn- began it in December 1829, just after returning to Berlin tunes (or chorales). In this context, a symphony with a from his first visit to the British Isles, his intention being finale based on one of the best-known of all chorales – to use it to mark the following year’s 300th anniversary Ein’ feste Burg ist unser Gott – must have seemed a of the Augsburg Confession, the assembly which had natural enough progression. defined the core beliefs of Lutheran Protestantism. A number of factors conspired to prevent it from fulfilling The first movement opens with a slow introduction in this purpose, however, and the symphony was which slowly curling counterpoint and increasingly eventually premièred in Berlin in 1832. urgent fanfares lead to two ethereal renditions on high strings of a rising six-note figure known as the ‘Dresden It may seem odd that a Jewish-born composer should Amen’. It has been suggested that this reference to the have chosen the Protestant Reformation as a subject, Catholic liturgy was meant to denote the old church but religious tolerance had been strong in the beset by controversy, and certainly when the music Mendelssohn family at least since his grandfather, the plunges straightaway into the main body of the philosopher Moses Mendelssohn, had helped Prussian movement – now in the minor – it is with a sense of Jews obtain social equality; what is more, Felix and his struggle and upheaval. At the end of the central siblings were baptised into the Christian faith in 1816, development section the ‘Amen’ figure reappears, this and grew up in an atmosphere of considerable spiritual time ushering in a recapitulation which is muted in enlightenment. But there may have been a musical tone, but which builds again to a stormy climax. impulse for the work too: since his mid-teens Mendelssohn had studied and enjoyed Bach, including The Scherzo is graceful and lighthearted, but though some of the vocal works that at the time were seemingly set apart from the general mood of the considered impractical to perform, and in March 1829 symphony – it is more bucolic than reverent – it retains

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PROGRAMME NOTES

thematic links with the falling woodwind motifs of the statement of Ein’ feste Burg , the prelude to a sonata very opening. The solemn third movement is short, the movement with themes of its own interlaced with feeling that it is at least half-conceived as an occasional guest appearances from the chorale, the last introduction to the finale reinforced by its recitative-like of which brings the work nobly to a finish. violin line. That finale opens with a warmly harmonised

KINDERTOTENLIEDER (‘SONGS ON THE DEATH OF Gustav CHILDREN’) MAHLER SARAH CONNOLLY mezzo soprano Nun will die Sonn’ so hell aufgeh’n | Nun seh’ ich wohl, warum so dunkle Flammen | Wenn dein Mütterlein | Oft denk’ ich, sie sind nur ausgegangen! | In diesem 1860-1911 Wetter, in diesem Braus

The story left by Mahler’s wife Alma is, as so often, Vienna in January 1905. It has no narrative, yet draws a seductive. Recalling the summer of 1904, when Mahler line from numb grief in the first song, through composed the last two of his settings of poems by reminiscence in the central three, to stormy violence Friedrich Rückert (1788-1866) on the deaths of his two followed by celestial peace in the last. children, she wrote: ‘I can understand setting such frightful words to music if one had no children, or had ‘Nun will die Sonn’ so hell aufgeh’n’ opens in the lost those one had... What I cannot understand is bleakness of loss, as winding lines on and horn bewailing the deaths of children, who were in the best fruitlessly attempt to comfort a bereaved one unable to of health and spirits, hardly an hour after having kissed take joy in the sunrise. When the strings eventually and fondled them. I exclaimed at the time: “For attempt the task, they serve only to intensify the feeling heaven’s sake, don’t tempt Providence!”’. of despair. ‘Nun seh’ ich wohl, warum so dunkle Flammen’ is more restless, with shifting key changes The image of Mahler somehow writing into being the and anguished ‘leanings’ in the melodic lines groping death of his own first daughter Maria, who died in 1907 for meaning in a memory of the child’s eyes. ‘Wenn dein at the age of five, needs, however, to be set against the Mütterlein’, a less complex portrayal of remembrance, is fact that he composed the first three songs in 1901, a funeral march in miniature, though with overtones of before he had any children, or indeed had even met Bach – another composer who knew well how to write Alma. Perhaps she was forgetting that Mahler had not of death – in its contrapuntal texture and instrumental only ‘discovered’ Rückert as a fertile source for several colourings. The fourth song, ‘Oft denk’ ich, sie sind nur other song-texts that year, but that he was already ausgegangen’, brings a change of mood as the illusion familiar with infant mortality, having endured the that the children have merely gone out or walked on deaths of no fewer than six of his own siblings before ahead conjures from Mahler some typically sweet they had reached the age of three, and been even ‘outdoor’ music; that we know what has really harder hit by the death of his brother Ernst at the age of happened to them prevents the atmosphere from thirteen in 1875. warming too much. Finally, ‘In diesem Wetter, in diesem Braus’ conjures a tempest to mock the parent’s care. Despite the three-year hiatus in composition, When eventually it blows out, a glowing apotheosis has Kindertotenlieder makes a coherent cycle, and was the singer contemplating the children in their final premièred as such under the composer’s baton in resting-place, gently rocking and safe from all storms.

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PROGRAMME NOTES

1 1 Nun will die Sonn’ so hell aufgeh’n Now the sun will rise as bright Als sei kein Unglück die Nacht gescheh’n! As if no misfortune happened in the night! Das Unglück geschah nur mir allein! The misfortune happened to me alone! Die Sonne, sie scheinet allgemein! The sun shines for everyone! Du musst nicht die Nacht in dir verschränken, You must not enfold the night within you, Musst sie ins ew’ge Licht versenken! You must drown it in eternal light! Ein Lämplein verlosch in meinem Zelt! A little lamp went out in my tent! Heil sei dem Freudenlicht der Welt! Hail to the light that gladdens the world!

2 2 Nun seh’ ich wohl, warum so dunkle Flammen Now I can see why such dark flames Ihr sprühtet mir in manchem Augenblicke, You flashed at me many a time. O Augen! O Augen! O eyes! O eyes! Gleichsam, um voll in einem Blicke As though in one glance Zu drängen eure ganze Macht zusammen. To concentrate all your strength. Doch ahnt’ ich nicht, weil Nebel mich umschwammen, Yet I did not suspect, for mists Gewoben vom verblendenden Geschicke, woven by blinding fate enshrouded me, Dass sich der Strahl bereits zur Heimkehr schicke, That the beam was already turning for home, Dorthin, von wannen alle Strahlen stammen. Thither, whence all beams stem. Ihr wolltet mir eurem Leuchten sagen: You wanted to tell me with your light: Wir möchten nah dir bleiben gerne! We should love to stay close to you, Doch ist uns das vom Schicksal abgeschlagen. But that is denied us by fate. Sieh’ uns nur an, denn bald sind wir dir ferne! Look at us, for soon we shall be far from you! Was dir nur Augen sind in diesen Tagen, What are just eyes to you at present In künft’gen Nächten sind es dir nur Sterne. In nights to come will be for you but stars.

3 3 Wenn dein Mütterlein tritt zur Tür herein, When your mummy comes in at the door, Und den Kopf ich drehe, ihr entgegen sehe, And I turn my head to look towards her, Fällt auf ihr Gesicht erst der Blick mir nicht, My gaze falls first not upon her face Sondern auf die Stelle, näher nach der Schwelle, B u t o n t h e s p o t n e a r e r t h e d o o r s t e p , Dort, wo würde dein lieb’ Gesichtchen sein, There, where your dear little face would be Wenn du freudenhelle trätest mit herein, If you, bright and happy, came in with her Wie sonst, mein Töchterlein. As you used to do, my little daughter. Wenn dein Mütterlein tritt zu Tür herein When your mummy comes in at the door Mit der Kerze Schimmer, ist es mir, als immer With the candlelight, it seems to me as ever Kämst du mit herein, huschtest hinterdrein, You come with her, darting behind Als wie sonst ins Zimmer! As you used, into the room. O du, des Vaters Zelle, ach, zu schnelle, O you, part of your father, alas, too quickly, Zu schnell erloschner Freudenschein! Too quickly extinguished light of joy!

4 4 Oft denk’ ich, sie sind nur ausgegangen! I often think they have only gone out! Bald werden sie wieder nach Hause gelangen! Soon they will be home again! Der Tag ist schön! O sei nicht bang! It is a beautiful day! O don’t be anxious! Sie machen nur einen weiten Gang! They are only taking a long walk!

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PROGRAMME NOTES

Jawohl, sie sind nur ausgegangen To be sure, they have only gone out Und werden jetzt nach Hause gelangen! And will now be coming home! O sei nicht bang, der Tag ist schön! O don’t be anxious, it’s a beautiful day! Sie machen nur den Gang zu jenen Höh’n! They are only walking to yonder heights! Sie sind uns nur vorausgegangen They have just gone ahead of us Und werden nicht wieder nach Hause verlangen! And will not come home again! Wir holen sie ein auf jenen Höh’n! We shall catch up with them on those heights! Im Sonnenschein! In the sunshine! Der Tag ist schön auf jenen Höh’n! It’s a beautiful day on those heights!

5 5 In diesem Wetter, in diesem Braus In this weather, in this bluster, Nie hätt’ich gesendet die Kinder hinaus! I’d never have sent the children out! Man hat sie getragen hinaus, They were dragged out, Ich durfte nichts dazu sagen! I was allowed no say in it! In diesem Wetter, in diesem Saus, In this weather, in this storm, Nie hätt’ich gelassen die Kinder hinaus. I’d never have let the children out! Ich fürchtete, sie erkranken; I’d have feared it would make them ill; Da sind nun eitle Gedanken. Those are now idle thoughts. In diesem Wetter, in diesem Graus, In this weather, in this awfulness, Nie hätt’ich gelassen die Kinder hinaus! I’d never have let the children out! Ich sorgte, sie stürben morgen; I was afraid they would die tomorrow; Da ist nun nicht zu besorgen. There is nothing to be done about that now. In diesem Wetter, in diesem Graus, In this weather, in this awfulness, Nie hätt’ich gesendet die Kinder hinaus! I’d never have sent the children out! Man hat sie hinaus getragen, They were dragged out, Ich durfte nichts dazu sagen! I was allowed no say in it! In diesem Wetter, in diesem Saus, In this weather, in this storm, In diesem Braus, In this bluster, Sie ruh’n als wie in der Mutter Haus. They are resting as if at home with mother. Von keinem Sturm erschrecket, Frightened by no storm, Von Gottes Hand bedecket, Sheltered by God’s hand, Sir ruh’n wie in der Mutter Haus. They are resting as at home with mother.

Poems by Friedrich Rückert. English translations © Eric Mason.

INTERVAL 20 minutes

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

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PROGRAMME NOTES

Johannes SYMPHONY NO. 3 IN F, OP. 90 BRAHMS Allegro con brio | Andante | Poco Allegretto | Allegro

1833-1897

When Brahms’s famous and, for his contemporary mawkish nostalgia or sense of regret, perhaps indicate admirers, frustrating reluctance to embark on a that at the age of fifty Brahms was looking back on his symphonic canon finally ended with the arrival of his life and, some storms notwithstanding, finding himself First Symphony in 1876, it opened the way for a robustly content. succession of large-scale orchestral works. The First Symphony had been about fifteen years in the making, The F-A-F motto is presented right at the beginning of but with it behind him Brahms composed his Second the piece, in the rising top line of its first three chords, within a year, and then followed it with the Violin and then forms the bass to the proudly plunging first Concerto in 1878 and the Second Piano Concerto in theme that immediately follows. Those chords have 1881. The Third Symphony appeared in December 1883, alternated major and minor (by changing the A of the having been composed the preceding summer, and was second chord to an A flat), and this agile tonal an immediate critical and public success. ambivalence continues to be a feature of the movement, whose demeanour has been aptly described By this time in his life, Brahms had taken to spending by Malcolm Macdonald as one of ‘irascible exhilaration’. the summer months out of Vienna, and in 1883 his A new theme in A major brings momentary calm, but chosen getaway was the south-west German spa town the mood is soon whipped into a passion again, and of Wiesbaden, with its fine view of the Rhine valley. The when this second theme reappears in the central similarity of the opening theme of his Third Symphony development section, it is in a whirling, almost macabre to that of Schumann’s Third, the ‘Rhenish’, has often minor-key transformation. The main themes are then been remarked, and it may be that the great river awoke recapitulated as normal, after which a further memories for Brahms of times spent with his early portentous restatement of the motto and first theme mentor in Düsseldorf, another Rhineland town, thirty initiates a toughly worked-out coda. The movement years before. The fact that the first movement is ends, however, in peace. permeated by the three-note sequence F-A-F, identified by one of Brahms’s early biographers as a personal Clara Schumann wrote of the Andante that it brought cipher for the words ‘Frei aber froh’ (‘free but happy’), to mind ‘worshippers at a woodland shrine’, but if the suggests a further level of reminiscence; in 1853 opening hymn-like melody carries an immediate Brahms had contributed a movement to a violin sonata suggestion of pastoral music-making, the emotional jointly composed with Schumann and Albert Dietrich as shadows cast by the repeated notes of a troubled a gift for the violinist Joseph Joachim, making use of second theme ensure that a deeper philosophical Joachim’s note-cipher of F-A-E – ‘Frei aber einsam’ (‘free landscape has opened up by the time the movement but lonely’). Musical mottos such as these do not reaches its end. For the third movement Brahms express anything in themselves, of course, but they do provides an eloquent, medium-paced intermezzo alert us to a heightened level of personal involvement instead of the customary scherzo. He had done the on the composer’s part. The mood of the Third same in the First Symphony, but this time the music is Symphony is not as easy to pin down as that of the more haunting, led off as it is by a yearningly plaintive ‘tragic’ First or the ‘pastoral’ Second, but its apparent melody, and although a central section injects references to happy former times, presented without what seems like some rather forced humour, it soon

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PROGRAMME NOTES SOUTHBANK CENTRE

subsides to a reprise of this first theme melancholically WELCOME TO SOUTHBANK CENTRE rescored for horn and subsequently oboe. We hope you enjoy your visit. We have a Duty Manager The finale opens in the minor with a stealthy running available at all times. If you have any queries please ask theme, but this is soon interrupted by a solemn any member of staff for assistance. transformation of the repeated-note material from the Andante , followed by a sudden, openly belligerent Eating, drinking and shopping? Southbank Centre shops response from the full orchestra. The movement and restaurants include: Foyles, EAT, Giraffe, Strada, YO! proceeds to juggle these components in a mood of Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping intense excitability that not even the vain attempts of a pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete smoother second theme can calm, but this is not how and Feng Sushi, as well as cafes, restaurants and shops the symphony will end; eventually a muted horn blast inside Royal Festival Hall, Queen Elizabeth Hall and ushers in a slowed-down viola version of the running Hayward Gallery. theme, and from here the music winds down, switches to the major, and closes in a gentle reminiscence of the If you wish to get in touch with us following your visit symphony’s first theme, with the F-A-F motto in please contact Kenelm Roberts, our Head of Customer attendance. Relations, at Southbank Centre, Belvedere Road, London SE1 8XX or email [email protected] or Programme notes © Lindsay Kemp phone 020 7960 4250.

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 FREE Pre-Concert Event | Royal Festival Hall LATECOMERS will only be admitted to the auditorium if 1 December 2010 | 6 pm there is a suitable break in the performance RECORDING is not permitted in the auditorium without Vladimir Jurowski the prior consent of Southbank Centre. Southbank Centre conductor reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has FOYLE FUTURE FIRSTS ended orchestral apprenticeship programme MOBILES, PAGERS AND WATCHES should be switched

Mahler Lieder eines fahrenden Gesellen off before the performance begins

(with Njabulo Madlala baritone)

Kancheli Exil (with Allison Bell soprano)

The Foyle Future Firsts programme is generously funded by the Foyle Foundation with additional support from The D’Oyly Carte Charitable Trust, The Eranda Foundation, The Fenton Arts Trust and the Musicians Benevolent Fund.

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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 Commander Vincent Evans Mr Richard Fernyhough Mr & Mrs Richard & Victoria Sharp Mr Daniel Goldstein Ken Follett Julian & Gill Simmonds Mrs Barbara Green Michael & Christine Henry The Tsukanov Family Oliver Heaton Mr Glenn Hurstfield Simon Yates & Kevin Roon Peter MacDonald Eggers Mr R K Jeha Mr & Mrs David Malpas Mr & Mrs Maurice Lambert Garf & Gill Collins Andrew T Mills Mr Gerald Levin Andrew Davenport Mr Maxwell Morrison Sheila Ashley Lewis David & Victoria Graham Fuller Mr Michael Posen Wg. Cdr. & Mrs M T Liddiard Richard Karl Goeltz Mr & Mrs Thierry Sciard OBE JP RAF John & Angela Kessler Mr John Soderquist & Mr Costas Mr Frank Lim Mr & Mrs Makharinsky Michaelides Paul & Brigitta Lock Geoff & Meg Mann Mr & Mrs G Stein Mr Brian Marsh Caroline, Jamie & Zander Sharp Mr & Mrs John C Tucker John Montgomery Eric Tomsett Howard & Sheelagh Watson Mr & Mrs Egil Oldeide Mr Laurie Watt Edmund Pirouet Guy & Utti Whittaker Mr Anthony Yolland Mr Peter Tausig Mrs Kazue Turner Principal Benefactors Benefactors Lady Marina Vaizey Mark & Elizabeth Adams Mrs A Beare Mr D Whitelock 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

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

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

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RECORDINGS

ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

LPO-0012 Klaus Tennstedt conducts Mahler’s Songs of a Wayfarer with Thomas Hampson and the Symphony No. 1 ‘... a stirring account, with his tight control causing Mahler’s climactic outbursts – both joyous and nostalgic – to hit home potently ... The LPO’s lead bassist tackling Mahler’s minor-key overhaul of ‘Frère Jacques’ is fittingly melancholic, while the finale is packed with energy and bracing inevitability.’ CLASSIC FM

LPO-0044 Klaus Tennstedt conducts Mahler’s Symphony No. 2 ‘This live version of the Resurrection is frequently startling – extremely expansive but exciting, dramatic and highly charismatic …The playing and singing are excellent, and the recording, made by the Music Performance Research Centre, is near-faultless.’ GRAHAM RICKSON, THE ARTS DESK, 22 MARCH 2010

LPO-0033 Jaap Van Zweden conducts Mahler’s Symphony No. 5 ‘He unfolds the drama of the first movement with a sure grasp of the need for subtle variations of tempo … the finale is a joyous, life-affirming rondo that lifts the spirits.’ MICHAEL KENNEDY, THE SUNDAY TELEGRAPH, 10 AUGUST 2008

LPO-0043 Vladimir Jurowski conducts Brahms’s Symphonies Nos 1 and 2 ‘This pair of budget-priced CDs on the LPO’s own label demonstrate how, in the right hands, the first two symphonies can thrill and delight … exquisite wind playing …genuinely exciting …’ GRAHAM RICKSON, THE ARTS DESK, 22 FEBRUARY 2010

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. CDs may also be purchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 020 7840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

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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 Martin Höhmann Corporate Relations and Angela Kessler Jenny Chadwick Events Officer Photographs of Mendelssohn, Clive Marks OBE FCA Tours and Engagements Mahler and Brahms courtesy Elisenda Ayats Victoria Sharp Manager of the Royal College of Music, Development and Finance Julian Simmonds London. Jo Orr Officer Timothy Walker AM † PA to the Executive / Photograph on the front cover Laurence Watt Concerts Assistant MARKETING by Karen Robinson. AMERICAN FRIENDS OF THE Matthew Freeman Kath Trout Programmes printed by LONDON PHILHARMONIC Recordings Consultant Marketing Director Cantate. ORCHESTRA, INC. EDUCATION AND Ellie Dragonetti We are very grateful to the COMMUNITY PROGRAMME Marketing Manager Board of the American Friends of the London Philharmonic Matthew Todd Frances Cook Orchestra for its support of Education and Publications Manager the Orchestra’s activities in Community Director Samantha Kendall the USA. Anne Findlay Box Office Administrator Education Officer (Tel: 020 7840 4242) PROFESSIONAL SERVICES Isobel Timms Charly Fraser-Annand Charles Russell Community Officer Intern Solicitors Alec Haylor Valerie Barber Crowe Clark Whitehill LLP Education and Press Consultant Auditors Community Assistant (Tel: 020 7586 8560) Dr Louise Miller Richard Mallett Honorary Doctor Education and Community Producer †Supported by Macquarie Group

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FUTURE CONCERTS

AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

MAHLER ANNIVERSARY JTI FRIDAY SERIES Saturday 30 October 2010 | 7.30pm Friday 26 November 2010 | 7.30pm Brahms Piano Concerto No. 2 Mozart Piano Concerto No. 25, K503 Beethoven (arr. Mahler) Symphony No. 3 (Eroica) Bruckner Symphony No. 9 Vladimir Jurowski conductor Günther Herbig conductor Leif Ove Andsnes piano Andreas Haefliger piano

Kazushi Ono and Günther Herbig and Nathalie Stutzmann Andreas Haefliger

MAHLER ANNIVERSARY MAHLER ANNIVERSARY Wednesday 17 November 2010 | 7.30pm Wednesday 1 December 2010 | 7.30pm R Strauss Death and Transfiguration Debussy (orch. Colin Matthews) Préludes: Des Pas sur la Mahler Rückert-Lieder neige; La Cathédrale engloutie; Feux d’artifice Ravel Suites Nos 1 and 2, Daphnis et Chloé Britten Les Illuminations Mahler Symphony No. 4 Kazushi Ono conductor Nathalie Stutzmann contralto Vladimir Jurowski conductor Christine Schäfer soprano 6.00pm–7.00pm | FREE Pre-Concert Event Royal Festival Hall A performance of chamber music including Giya Kancheli’s Exil by the Orchestra’s outstanding young Vasily Petrenko and Oleg Marshev apprentice musicians conducted by Vladimir Jurowski.

Wednesday 24 November 2010 | 7.30pm Stravinsky Scherzo fantastique Prokofiev Piano Concerto No. 3 Vladimir Jurowski and Christine Shostakovich Symphony No. 11 Schäfer Vasily Petrenko conductor Oleg Marshev piano 6.15pm–6.45pm | FREE Pre-Concert Event TO BOOK Royal Festival Hall Tickets £9-£38 | Premium seats £55 Writer and broadcaster David Nice explores ‘A London Philharmonic Orchestra Ticket Office Symphony of revolutionary songs: Shostakovich’s 020 7840 4242 | www.lpo.org.uk individuality versus the spirit of 1905’. 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 fees; no fee for Southbank Centre members

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