50 Years in a Day

A celebration of the 50th anniversary of HarrisonParrott

SOUTHBANK CENTRE Welcome HP50 to When Terry Harrison and I sat in the offices of Ibbs and Tillett back in the 1960s, imagining the music world as we wanted it to be, we had no thoughts of the year 2019, but we could see what needed to change and we wanted to change it. We bring fascination to And when we crept into the back of the boxes of

Caroline Roka Caroline Royal Festival Hall, too cash-strapped to buy tickets, we had no idea that the company we had just founded every corner of the world would be here celebrating its 50th anniversary in the presence of some of the world’s finest musicians. This celebration is an important one for us and we are proud and excited to be surrounded by so many dear colleagues and friends. It is an opportunity to look back at what we have achieved and think about the people who helped us along the way, but are no longer with us – including Terry. It is also a chance to look to the future and to think Transport Logistics about our legacy both within the classical music From single flight cases to large productions: Instruments, light and sound world and beyond. In that light, today we launch our equipment, stages, costumes, vehicles… whatever you need to make your event new HarrisonParrott Foundation, with the aim of happen, we deliver worldwide and bring it all home again. improving access to music for every child, regardless of their background. You can find more details and ways to donate from page 30. Thank you for joining us for this wonderful day Tour Management of music, offered so generously by so many of We don’t just move instruments and equipment, but also the musicians, actors, our wonderful artists – I hope you will enjoy it as dancers and crew who bring your performance to life. We make sure that your much as I know I will. As of tomorrow, we start our ensemble arrives at the right place, rested and on time. preparations for 2069! Jasper Parrott

Munich | Hamburg | Singapore Courtesy Courtesy Turner Helen www.heed-logistics.com 2 [email protected] 3 Along the way 1969 HarrisonParrott founded 1970 Led Zeppelin at the Reykjavik Festival The early days 1978 Two Beethoven cycles in Carnegie Hall and Kennedy Center with Ashkenazy, Haitink and the Royal Concertgebouw Orchestra Left 1979 First tour to China with Vladimir Ashkenazy HarrisonParrott 1979 First HP orchestral tour to Japan with Rotterdam Philharmonic opens its doors Orchestra conducted by Edo de Waart Right The company 1983 First Philharmonia Orchestra tour to Australia placed a series of 1983 Brahms Project with Philadelphia Orchestra in Europe groundbreaking 1983 Brahms marathon at Royal Festival Hall for 150th anniversary ads in Music 1984 Royal Philharmonic Orchestra Asia Tour: the first European orchestra and Musicians magazine in 1970 to perform in Taiwan 1985 André Previn and Royal Philharmonic Orchestra celebrate Handel’s Below left 300th birthday with fireworks and a concert in London’s Hyde Park The Guardian 1988 International Piano Series founded featured the new 1989 Ashkenazy returns to Russia with Royal Philharmonic Orchestra organisation in 1971 1991 Festival of Switzerland for 700th anniversary of Swiss Confederation 1991 Japan Festival in the UK – largest celebration of arts of one country Below Ashkenazy’s ever undertaken 1979 visit to China 1993 Philadelphia Orchestra Brahms project with Wolfgang Sawallisch paves the way for successful tours 1995 Concert for 50th anniversary of the UN in San Francisco with there Vladimir Ashkenazy and Royal Philharmonic Orchestra 1995 Pierre Boulez Festival in Tokyo 1998 HP’s first major orchestral project in China, with The Cleveland Orchestra in Beijing and Shanghai 1999 Metallica and Berliner Symphoniker perform at the Berlin Wall 2001 Rachmaninov project with Ashkenazy and Philharmonia in New York City cancelled en route on 9/11, but rescheduled and performed four months later 2003 Aka Pygmies from Central African Republic tour Europe with Pierre-Laurent Aimard, celebrating Ligeti’s 80th birthday 2003 Celebration of Irish music at Cité de la musique, Paris 2003 Music and Dictatorship project with Czech Philharmonic 2004 Turkish Festival in Berlin and ‘The Turks’ Exhibition at the RA 2007 Consulting for Harpa Hall, Iceland, from initiation to completion in 2011 2008 Munich office opens 2008 Britten’s music celebrated in Japan throughout 85th anniversary year 2012 Royal Concertgebouw Orchestra concerts in both Istanbul and Yerevan under Lorin Maazel, the first major orchestra to visit both cities on the same tour

2012 Susan Bullock sings at the Closing Ceremony of the 2012 London Courtesy Turner Helen Olympic Games 2013 Royal Concertgebouw Orchestra tour of South America Left One of the first with Mariss Jansons tours was to take Led Zeppelin to the 2014 Polyarts launched as a sister management company to HP, for Reykjavik Festival genre-blending artists and projects linked to film, tech and media 2015 Jasper Parrott and HarrisonParrott named Artist Manager of the Right Home for Year by Association of British Orchestras many years: Penzance Place 2016 Wiener Philharmoniker tour to the Americas with Valery Gergiev in 1979 2018 Paris office opens 2018 London office moves to the Ark 2019 HarrisonParrott Foundation launched 4 5 HP50 tributes HP50 Some HarrisonParrott artists explain what the company ‘The company Alban Gerhardt István Vardai is about means to them and send their best wishes for the event It’s important for a musician to feel Before I started working with providing the completely cared for and trusted, HarrisonParrott I never considered my best support for and that’s how I feel about my team career strategically. I was interested musicians’ at HarrisonParrott. It goes beyond in how to shape a phrase; what type career support and the artist– of colours, sounds, dynamics, and Vladimir Ashkenazy Andreas Scholl Jess Gillam manager relationship. Every musician rhythms the music needs; how to I would like to wish HarrisonParrott The team manages many singers and has self-doubt at some point – I only share my energy with an audience a very Happy 50th Birthday. I am very calls them every day, but whenever have to drop the team an email and and project what I believe. They see happy to have been with you from the I receive a call, it feels as if they are ‘They have they call me to talk about whatever how to complete this way of thinking very beginning, and all of you I have working exclusively for me. Singers never put me troubles me, whether it’s about music and I’ve learnt how strategic thinking worked with have been wonderful. I don’t like to feel that we are one of down or lost or not. They are also very supportive supports my musical development. consider you to be my good friends. many and I’ve never felt I’m sharing faith’ when I come up with projects. They are interested in how I see their attention or dedication – that’s a Making money isn’t their main things, how I am, what I need, what I huge achievement. There is so much Patricia incentive whatsoever: if I want to play need to become even better, and how Leila Josefowicz concentration on each individual Kopatchinskaja somewhere but the fee isn’t great, to open doors and go on stages that artist that no one feels as if they are a they never deny me. are inspiring for me. I started the violin aged 3 and got wheel in the machine, and if there’s an professional management at 13, so urgent matter somebody takes care ‘They have been to be playing with such excitement of it instantly. I’ve always been very still at my age is amazing. This has happy with our collaboration. there at every Patricia Kopatchinskaja Stephen Hough to do with the people around me. The single step as Jasper is like a gardener with his joy of being able to play music is so I’ve been with HarrisonParrott for I’ve grown’ artists, taking care of his beloved important to me, especially when I 25 years or so. I have always had plants in the ways they need. He look around the world and see what’s Jess Gillam Elim Chan the most wonderful team. In some never stops me or discourages me. going on. There are so many things situations, if you’re not earning When I first came in for a meeting On the contrary, being intrigued by my that aren’t as pure as playing music money, you’re of no use and it’s at HP, everyone seemed to have ideas, he develops the best platforms and being creative, so playing is ‘Goodbye!’ I’ve never felt that I was such genuine passion – it felt like for them, and we are I think I can say, such a privilege. I’m very grateful to just an object for HarrisonParrott, a the perfect fit. The company is ‘They are very happy we found each other. He have had such wonderful years with means of making money. about providing the best support for interested promised me that he would support HarrisonParrott, and to the whole musicians as well as developing the in how I see me in unusual and experimental organisation and all the wonderful best career possible. I feel very lucky explorations, and he has kept his people I work with there. things, how with my team, who care that I do I am, what I word. In tough moments in my life, Esther Yoo things that I enjoy and have a fulfilling need’ I know I am not always easy. They career, rather than just a busy one. I have never put me down or lost faith, In the life of an artist there are ups and downs and the fantastic Christopher Seaman feel very well looked after, and it was István Vardai always looking only forward with a apparent I would feel that way from positive spirit. These are ingredients thing about HP is the sense of I was one of the original twelve the beginning. for a lifelong collaboration. togetherness, that there’s this team HarrisonParrott artists. Jasper made surrounding you. I have fantastic a colossal difference in getting ‘Whenever memories of great successes we’ve accomplished together, and there my career started, almost single- you go into the handedly. The number of HP artists Peter Eötvös Elim Chan were also times that didn’t go as we office, you get a grew quickly, but I’ve been looked hoped – that’s what happens in life. HarrisonParrott represents me both I have loved HarrisonParrott since after well however big the company royal welcome The support that an artist receives as a composer and conductor, which the very beginning. Their commitment has been, which is a tribute to the and feel you are from their manager and team is so is a delicate balance for me, but they was clear from the start in terms of organisation. Whenever anyone part of a family’ crucial and that sense of family, have been very respectful of that. what they see in me and they have phones, the first question they ask teamwork, trust and togetherness Every project is a long adventurous Christopher been there at every single step as is how I am, without exception, which is what makes working with HP so story. After 20 years, our contact is as Seaman I’ve grown. is wonderful. Whenever I have a fresh as spring, a permanent rainbow. unique. concert, they call the next day to see how it went. The HP ethos has always been about the personal touch. Whenever you go into the office, you get a royal welcome and feel you are part of a family.

6 7 Have you ever wondered what an artists’ agency actually does? Some of our artists Congratulations to HarrisonParrott describe what they need from us on your 50th anniversary

Stephen Hough ‘Young artists The success of a manager is not need the people measurable in the way it would be with a banker. It is about psychology, around them to Han-Na Chang experience, contacts and the acknowledge personal touch. You need to be able For me, having wonderful mentors their need for to read each other. There’s frustration was particularly great during my the space and in all walks of life and certainly when childhood and youth. They each had time to develop you’re constantly travelling around different advice to give, but thinking and grow at the world. A manager has to know about it now, it all came down to their own pace’ the psychology of when to push you taking the time to grow and mature, or pull you back; when to have a no- being curious about and studying Han-Na Chang nonsense or a sympathetic approach. broadly the humanities, and not They need to know how to calm missing out on my childhood. So, someone down in difficult situations. for the young artists of today – especially when the pace of sharing It isn’t just about selling a diary – it’s content has become even faster with a human relationship. A manager has the various social media channels to protect the mental health of their – I would say they need the people artists. It’s good to be busy, but bad to around them to acknowledge their be too busy. Sometimes when we’re need for the space and time to on a high we accept more than we develop and grow at their own pace, should. It’s important for managers to find their own individual voice. to keep that in mind. They have to say, ‘Today you don’t mind playing in ‘It isn’t just Tokyo one night, Sydney the next and about selling then Vienna and Helsinki, but when it comes to that week you will regret it.’ a diary –it’s Leila Josefowicz We are certain you will continue to light up the world a human Artists need many different things relationship’ from agents. We need them to have a with your successful Artist and Project Management mixture of knowledge, empathy and Stephen Hough for many years to come! Andreas Scholl business smarts. We need them to Being a manager is more than getting be diligent and professional when we the best fee out of a concert, booking need connections with composers, Symphony Tours organises tours for musicians, as many concerts as possible and artists, conductors creating PR. It’s about developing a and administrators, but also to orchestras, opera companies and ballets across the world. strategy for each individual artist and be able to handle it when we’re working out appropriate repertoire so exhausted that we can’t make and concerts. a concert next week. Symphony Tours Your partner in excellence since 1991

8 [email protected] www.symphonytours.com Programmes Music from Bach to Birtwistle 50 Years in a Day 3.30pm, Queen Elizabeth Hall Duke Ellington In a Sentimental Mood Sunday 6 October, Southbank Centre Lucienne Renaudin Vary (trumpet) A celebration of the legacy and the future of HarrisonParrott international artist management company as it reaches its 50th Falla Suite populaire españole arr. Kochanski for violin and piano anniversary, featuring its artists from across the world Leticia Moreno (violin), Daniel Kharitonov (piano)

Piazzolla Le grand tango Ksenija Sidorova (accordion), Alban Gerhardt (cello) Brahms, Chopin and Debussy Wolf From Goethe Lieder: Mignon I (Heiss mich nicht reden); Mignon II 12pm, Queen Elizabeth Hall (Nur wer die Sehnsucht kennt); Mignon III (So lasst mich scheinen); Mignon (Kennst du das Land) Piazzolla Tango-Etude No.3 (Molto marcato e energico) for saxophone Barbara Hannigan (soprano), Tamara Stefanovich (piano) Jess Gillam (saxophone) INTERVAL Debussy Sonata in D minor for cello and piano István Várdai (cello), Víkingur Ólafsson (piano) J.S. Bach Prelude from Suite No.6 in D for solo cello BWV1012 Alban Gerhardt (cello) Brahms Sonata in E flat for clarinet and piano, Op.120 No.2 Jörg Widmann (clarinet), Víkingur Ólafsson (piano) Péter Eötvös For Lydia for two violins (world premiere – written specially for the 50th anniversary of HarrisonParrott) Jörg Widmann Fantasie for solo clarinet Selected violin duos Jörg Widmann (clarinet) Patricia Kopatchinskaja and Pekka Kuusisto, violins

INTERVAL Harrison Birtwistle Keyboard Engine for two pianos (London premiere) Chopin Nocturne in B flat minor, Op.9 No.1; Nocturne in E flat, Op.9 No.2 Pierre-Laurent Aimard, Tamara Stefanovich (pianos) Satie Gnossienne No.1 Debussy Clair de lune from Suite bergamasque Alice Sara Ott (piano) One Orchestra, Four Great Conductors J.S. Bach Prelude from Prelude and Fugue in C, BWV846 arr. Shlomo Gronich (Al na telech) 7.00pm, Royal Festival Hall Purcell Music for a While from Oedipus incidental music Philharmonia Orchestra Traditional O waly waly

Berg Ferne Lieder from Jugendlieder Schubert Symphony No.8 in B minor (Unfinished) Vaughan Williams The Twilight People; Tired Paavo Järvi (conductor) Andreas Scholl (counter-tenor), Tamar Halperin (piano) R. Strauss Der Rosenkavalier Suite Santtu-Matias Rouvali (conductor)

In conversation INTERVAL

2.30pm, Queen Elizabeth Hall Foyer – free Tchaikovsky Fantasy Overture, Romeo and Juliet Gillian Moore leads a discussion about the new HarrisonParrott Elim Chan (conductor) Foundation, with Jess Gillam, Pekka Kuusisto and Zwakele Tshabalala Elgar Enigma Variations Vladimir Ashkenazy (conductor)

10 11 Schubert Strauss masterpieces, Schubert was Marie-Therese, whose husband is Franz Schubert continually dissatisfied with his Richard Strauss absent, has taken a lover: 17-year-old (1797–1828) own efforts; another suggests that (1864–1949) Count Octavian. She is convinced that the onset of his illness and the the boy will leave her someday for a Symphony No.8 in B minor, subsequent treatment disrupted the Der Rosenkavalier Suite Op.59 younger woman (the Marschallin is ‘Unfinished’ (1822) work’s flow. (arr. Rodzinski 1944) supposed to be about 32, hardly a 1 Allegro Moderato Con moto agitato – Allegro molto – dowager). Her cousin Baron Ochs von In the end Schubert may have 2 Andante con moto Tempo di Valse – Moderato molto Lerchenau, a grossly ill-mannered been content with the two existing lecher, arrives to ask her advice about sostenuto – Schneller Walzer: movements alone, because in 1823 his engagement to 15-year-old Paavo Järvi, conductor he sent them to the Styrian Music Molto con moto Sophie von Fanninal, a match uniting Society in Graz via his friend Joseph old aristocracy with nouveau-riche Hüttenbrenner, brother of its director. Santtu-Matias Rouvali, conductor money. Hofmannsthal invented Franz Schubert composed nearly a Now the plot thickens: that director, a tradition for the characters to thousand pieces before his untimely Anselm Hüttenbrenner, kept the follow: the bridegroom must send manuscript and failed to reveal it death aged only 31. In his final years After his opera Salome created a cavalier to present his betrothed until 40 years later. Finally he dug out he produced an extraordinary stream sensation and scandal upon its with a silver rose. The Marschallin the score for Schubert’s biographer, of masterpieces – as if he, like his premiere in 1905, the 41-year-old recommends Octavian for the task. Heinrich Kreissle von Hellborn, who contemporary, the English poet John Richard Strauss was able to build Octavian and Sophie duly meet and had heard of its existence through Keats, feared ‘that I may cease to be, from its proceeds a beautiful villa at fall in love. But Ochs also has the hots a note by Hüttenbrenner in a before my pen has glean’d my teeming Garmisch-Partenkirchen, Bavaria. for the Marschallin’s maid – actually biographical dictionary. The conductor brain’. There he composed Elektra, the Octavian in disguise, hastily hiding his Johann von Herbeck gave the world libretto adapted from Sophocles by identity when he and the Marschallin Schubert had good reason to premiere in Vienna in 1865. the poet Hugo von Hofmannsthal – are interrupted in Act 1. Ultimately anticipate that his life would not be who turned out to be Strauss’s artistic Octavian stages an elaborate revenge long: he contracted syphilis in 1822 The first movement opens in hushed soulmate. Their creative partnership to catch Ochs red-handed, before the or 1823, a then-incurable illness tones deep in the basses before the extended thereafter over 23 years opera subsides to a nostaglic close, that sparked emotional suffering at first theme, a bleak drop of a fifth, is and six operas. ‘We were born for the Marschallin giving up her lover least as acute as its physical effects. heard over whispering strings. The ‘It is full of the one another and are certain to do to Sophie. He appears to have spent extended major-key second subject with its most beautiful fine things together,’ wrote composer periods of 1823 in hospital. By folksong-like innocence acquires The conductor Arthur Rodzinski harmonies to librettist. Their most celebrated 1824 he was declaring himself ‘the a sense of heartbreak from this extracted a concert suite from the and melodies. effort was Der Rosenkavalier, written unhappiest, most wretched man in despairing hinterland. High drama opera and premiered it in New York in in 1909–10 and premiered to vast ‘Given the the world’. The situation supposedly ensues while Schubert develops and The score is 1944. It begins with the opera’s rather success the following year. nature of plunged his compositions, too, into contrasts these ideas. complex – there explicit prelude, after which the first this music, shadowy and despairing realms. Yet are so many scene reveals Octavian in bed with The second movement seems to This opera inhabits a wholly different it seems that he began to compose patterns and the Marschallin. There are telescoped Schubert’s continue the mood of the first: after world from Elektra: ‘Now I shall write a his Symphony No. 8 in 1822, before he impressions of the latter’s passion for much-vaunted opening in E major, the music is lines, and Mozart opera,’ Strauss is supposed to was diagnosed. Given the nature of Octavian and his first meeting with darkness must soon shadowed by an anguished it’s always have said. Hofmannsthal obliged with this music, Schubert’s much-vaunted Sophie as he presents the silver rose already have oboe melody over a syncopated interesting a story set in 18th-century Vienna: it darkness must already have been – an unmistakably glistening series of been part of his background. The whole, deeply to pick the has resonances of both Le nozze di part of his psyche. chords. The mood shatters with music psyche’ personal and richly orchestrated, ones that Figaro and Don Giovanni in its topics of decadent aristocracy, the relationship from the wilder shenanigans of the Although his reason for failing to forms a concentrated work with a are the most of nobility and servants, and multiple final act, ushering in a succession of complete the B minor Symphony has perfection of its own. important. cross-dressings for the trouser- waltz themes from Ochs’s song ‘With never been precisely determined, I love how role mezzo-soprano – give Mozart’s me, no night is too long’ and another several theories exist. One is that in Strauss builds Cherubino a couple more years and derived from the opera’s opening. The seeking a response to Beethoven’s the music up’ he could well grow into Strauss’s heartrending trio for the Marschallin, Octavian. Strauss later remarked that Sophie and Octavian puts in an Santtu-Matias appearance, along with Sophie and Rouvali Hofmannstahl’s libretto virtually set itself – he enjoyed working on it so Octavian’s final duet. Another rousing much that he accidentally set a stage waltz forms an upbeat conclusion. direction to music.

The story depicts a love triangle – or INTERVAL maybe a lust quartet. The Marschallin 12 13 Tchaikovsky the lyrical melody for the lovers. Pyotr Tchaikovsky Tchaikovsky adds a wealth of detail: Romeo and Juliet in a sports car (1840–1893) irregular cymbal crashes in the fight music seem to indicate clashing Fantasy Overture, Romeo & Juliet swords, and in the love theme the Conductor ELIM CHAN offers her thoughts on Tchaikovsky’s much-loved (vers. standard, 1880) harp perhaps suggests the glint of work, and looks forward to conducting the Philharmonia again moonlight.

Elim Chan, conductor In the development, Tchaikovsky I made my Philharmonia debut with this piece in 2017 – it was a cancellation combines the fight music with and it was miraculous that I could step in. The orchestra played it so the Friar Laurence theme – as if wonderfully and it opened up my relationship with them, so there is no better Tchaikovsky’s evocation of reminding Romeo of the context choice of repertoire for me to conduct them in celebrating HP’s anniversary. Shakespeare’s tragedy went through in which he is about to kill Juliet’s The overture suggests the story of Romeo and Juliet, and lets you imagine what a tough creative process before cousin, Tybalt. The lovers’ music happens to the lovers. In less than 20 minutes you get both the angst and the reaching its almost perfect form. The recapitulates, but is quickly shattered, passion of Shakespeare’s play. You know from the very beginning that the story story must have appealed strongly to and the coda, when it arrives, begins is going to be dark –there’s so much anguish, even in the beautiful, yearning the composer: to be homosexual in with a funeral march based on their themes on the high instruments in the very opening. We immediately know that 19th-century Russia meant knowing melody. In the coda, Friar Laurence’s Romeo and Juliet may attain love, but they won’t be able to keep it. all too much about ‘star-cross’d love’. soundworld, extrapolating good from tragedy, leads into the love motif We hear the struggle between the two families – two forces wrestling. In the The idea for the piece was originally turned upside down – the final chords middle there is the glorious melody that stays with you after hearing it just suggested in 1869 by Mily Balakirev, are from the fight theme, an ultimate once – an intimate and passionate celebration of their love. It doesn’t last long one of the group of nationalistic reconciliation. ‘You know because the struggle returns. At the end we know the lovers can’t be together Russian composers known as ‘The from the very on earth, but Tchaikovsky’s ending brings them together in death. Mighty Handful’ – Balakirev even beginning offered his young colleague a detailed that the story They say that conducting a great orchestra is like driving a Ferrari race car, programmatic outline. Tchaikovsky is going to be and that’s the case with the Philharmonia. The players read every single little complied, but after Balakirev took the dark –there’s gesture you make. You give them the inspiration and they take it. If you work on first draft to pieces, he reworked it so much one thing, they apply that to similar places – there’s never any struggle. extensively in 1870. Ten years later he anguish, even revised the ending and added the title in the beautiful, I’ve conducted the orchestra twice now and the experiences have been such a ‘Overture-Fantasia’. The final version pleasure. I find I can be myself, which is rare – I can be in my own skin without yearning waited six years for its premiere, in needing to impress them. I can tell them how I hear the music and they just go Tblisi, Georgia. themes’ for it. They are efficient and free at the same time, and so open – once you’re Elim Chan honest and show yourself to them, they come with you. They are kind, classy Tchaikovsky is often seen as a musical and fast and I felt the chemistry when I first stood in front of them. bridge between Russia and Europe. There is little mistaking that bridge in The other three conductors have such special relationships with the orchestra, his Romeo and Juliet: at the outset a and I feel so honoured to be invited to conduct tonight, and to experience theme associated with Friar Laurence how the orchestra is with each of them. It will be my first time seeing Vladimir evokes the male-voice a cappella Ashkenazy live and I will watch the rehearsals and sneak into the audience if chants of the Russian Orthodox I can, and become a fan girl. His performances of Russian repertoire with the Church. Tchaikovsky has effectively Philharmonia are benchmarks, so when I see him performing live, I can check taken the essence of the story, that off my bucket list. translated it into pure structure and imbued it most successfully with his own time and place.

The structure is virtually classic sonata form, plus substantial introduction and coda. After Friar Laurence’s theme opens the work, Tchaikovsky’s visiting card from the 1880s two principal themes are contrasted: pugnacious music that represents the enmity of the Montagues and the Capulets; and as the second subject,

14 15 Elgar Lutherian chorale ‘Ein feste Burg’, Variation 4: W.M.B. Variation 11: G.R.S. Edward Elgar to a theme in the sense of a topic, The country gentleman William Meath George R. Sinclair, organist of (1857–1934) perhaps friendship, love or loneliness. Baker is depicted with a brusque Hereford Cathedral – whose bulldog, In a letter of 1912, Elgar said that the personality and a tendency to slam Dan, once fell into the River Wye. We Variations on an Original Theme, variations’ actual theme expressed doors. hear Dan tumble in, then bound back ‘Enigma’ (1898–9) ‘my sense of the loneliness of the with tremendous bass barking on Variation 5: R.P.A. Vladimir Ashkenazy, conductor artist… and to me it still embodies the timpani. that sense’. The poet Matthew Arnold’s son, Richard Penrose Arnold, was a Variation 12: B.G.N. Still, Elgar loved puzzles, and liked pianist and music lover: ‘His serious Elgar’s ‘serious and devoted’ cellist Edward Elgar’s Variations on an to keep his listeners guessing. And conversation was continually broken friend Basil Nevinson is captured in Original Theme, ‘Enigma’, is dedicated within the Enigma Variations, there up by whimsical and witty remarks,’ a Schumannesque solo. ‘to my friends pictured within’. This are further mysteries: Elgar wrote. was Elgar’s breakthrough work, Variation 13: *** (Romanza) composed when he was already Enigma: Andante Variation 6: Ysobel Another enigma: an identity hidden 42: it was premiered at the Queen’s Elgar’s pupil Isabel Fitton is portrayed by asterisks. In the centre the side- Variation 1: C.A.E. Hall, London, on 19 June 1899, in a poised solo for her instrument, drum evokes a ship’s engine, with a Elgar’s wife, Alice, is evoked in a conducted by Hans Richter. After its the viola. quotation from Mendelssohn’s Calm gracious, atmospheric variation, second performance (in Düsseldorf Sea and Prosperous Voyage – a sea enhanced by plangent triplets and Variation 7: Troyte in 1901) Richard Strauss declared: voyage is being suggested. This could tremolando. For the architect Arthur Troyte ‘Here for the first time is an English be Elgar’s first fiancée, Helen Weaver, Griffith, Elgar recalls an exasperating composer with something to say’. who studied the violin in Leipzig occasion when he attempted to teach Hitherto an ‘outsider’, as the Roman (where Mendelssohn founded the this family friend the piano. Catholic son of a piano tuner and music academy) and later emigrated to New Zealand. music shop owner in Worcester, Elgar Variation 8: W.N. was embarking upon a path that The music lover Winifrid Norbury lived Variation 14: Finale E.D.U. eventually led him to a baronetcy and in an elegant 18th-century house, Alice’s pet name for Elgar was Edoo. the Order of Merit. reflected in the style of this variation, A triumphant self-portrait, including which also captures her graceful laugh. Elgar later traced the work’s genesis reminiscences of other variations, notably Alice’s and Jaeger’s, brings to 21 October 1898. He and his wife, Variation 9: Nimrod this affectionate work to a grand-style Alice, were living in Malvern, where Frequently used for memorial conclusion. he eked out a living as a jobbing services and suchlike, Nimrod is ‘Here for the musician after a fruitless spell in first time is a tribute to Elgar’s editor at Novello, Programme notes © Jessica Duchen London. He wrote: ‘After a long day’s A.J. Jaeger, whose name means an English fiddle teaching in Malvern, I came ‘hunter’ in German – Nimrod of the composer home very tired. Dinner being over, Bible was a ‘mighty hunter’. The with something my dear wife said to me, “Edward, composer trusted Jaeger’s judgement to say’ you look like a good cigar”, and having Edward Elgar above all others. They also shared lighted it, I sat down at the piano… a profound love of Beethoven; this Richard Strauss suddenly my wife interrupted by Variation 2: H.D.S.-P. variation is modelled on the style saying, “Edward, that’s a good tune.” Elgar gently parodies the keyboard of the great composer’s I awoke from the dream: “Eh! Tune, warm-up of his pianist friend Hew slow movements. what tune!” and she said, “Play it David Steuart-Powell, who played again, I like that tune.” I played and Variation 10: Dorabella trios with him and Basil Nevison. The strummed, and played, and then she Elgar’s young friend Dora Penny has piece is, Elgar said, ‘chromatic beyond exclaimed, “That’s the tune.” And that a nickname from Mozart’s Così fan H.D.S.-P.’s liking’. tune is the theme of the Variations.’ tutte. A delicate intermezzo takes a Variation 3: R.B.T. characteristic rhythm from the girl’s The Enigma itself remains a mystery Richard Baxter Townshend was an slight stutter. – though many have claimed to amateur actor. Elgar wrote that his have solved it. Elgar referred to a impersonations found ‘the low voice larger ‘theme’ that goes through the flying off occasionally into “soprano” work, but is never played. This has timbre’. led various interpretations, from an unheard musical ‘theme’ such as the

16 17 Today’s artists Pierre-Laurent year association. He maintains conductor to Berliner Philharmoniker, Vienna Barbara Hannigan Aimard (piano) strong links with many orchestras, State Opera and Czech Philharmonic. (conductor, soprano) begins is a key figure including Cleveland Orchestra, San the 2019/20 season as Alban Gerhardt (cello) has in the music of Francisco Symphony and Deutsches Principal Guest Conductor spent more than 25 years our time, having Symphonie-Orchester Berlin, and at Gothenburg Symphony exploring both well-known worked closely makes guest appearances with Orchestra. She will work and uncharted classical with composers leading ensembles all over the world. with London Symphony repertoire of the past and including Ligeti, Orchestra, Toronto Symphony present. This season he Stockhausen, Elim Chan Orchestra and Bayerische gives the world premiere of a Kurtág, Carter and Boulez. An (conductor) won Staatsoper, and serve as Artist-in-Residence at concerto by Julian Anderson innovative curator, he has held many the Donatella Orchestre Philharmonie de Radio France. She in Paris with the Orchestre residencies, including at Carnegie Flick Conducting has premiered over 85 new works and worked National de France, and takes Brett Dean’s new Hall, Lucerne Festival and Edinburgh Competition with composers including György Ligeti, George Cello Concerto to the US, performing it with Festival, and was Artistic Director in 2014, along Benjamin, Pierre Boulez and Henri Dutilleux. the Minnesota Orchestra under Osmo Vänskä of the Aldeburgh Festival from 2009 with a one-year Her first album as singer and conductor, Crazy and the New York Philharmonic with Simone to 2016. This season he focuses appointment Girl Crazy, won the 2018 Grammy Award for Young, as well as to Sweden, with Daniel Harding on Beethoven’s 250th anniversary, as an assistant Best Classical Solo Vocal album. In 2018 and the Swedish Radio Symphony Orchestra. presenting Beethoven and the Avant- conductor of the London Symphony she launched the Equilibrium Young Artist In March he released Bach’s Cello Suites for Garde, which explores the composer’s Orchestra. She has since been mentoring initiative. Hyperion, described by The Sunday Times as legacy and influence as a modernist, appointed Principal Guest Conductor ‘one of the most spontaneous-sounding sets as well as New Academy Concerts of the Royal Scottish National Paavo Järvi (conductor) on disc’. with the Gürzenich Orchestra of Orchestra and Chief Conductor of begins his tenure as Chief Antwerp Symphony Orchestra, where Conductor of the Tonhalle- Cologne and François-Xavier Roth, in Jess Gillam (saxophone) she just opened her first season with Orchester Zürich this month. the spirit of Beethoven’s own Academy is quickly becoming one of Stravinsky’s The Rite of Spring. She Together they will record soirées. He brings both projects to the most familiar faces of made her BBC Proms debut in August Messiaen this year and a Southbank Centre as part of his classical music in the UK with the BBC National Orchestra of Tchaikovsky cycle in 2021. three-year residency, and in March today. She has performed Wales, and guest conducts around As Chief Conductor of the 2020 pairs Beethoven’s Hammerklavier extensively across the the world this season with with NHK Symphony Orchestra Sonata with Ives’ ‘Concord’ Sonata at country as well as around the Konzerthausorchester Berlin, Royal he will lead the group on their second European Queen Elizabeth Hall. world, and closed the 2018 Concertgebouw Orchestra, London tour together and release new recordings BBC Proms, performing in Vladimir Symphony Orchestra, Toronto of Mahler and Wagner. This season he also both the Last Night of the Proms at the Royal Ashkenazy Symphony, Philadelphia and the celebrates 15 years as Artistic Director of the Albert Hall and in Radio 2’s Proms in the Park. (conductor, piano) Philharmonia orchestras. Deutsche Kammerphilharmonie Bremen, and She records exclusively for Decca Classics and has focused on they will revisit their celebrated 2004 Beethoven as a passionate advocate for classical music conducting over Peter Eötvös cycle in 2020. He continues to serve as Artistic and education, presents shows on TV and the past 35 years, (composer, Director of the Estonian Festival Orchestra, radio, including her own Radio 3 programme, but continues conductor and which he founded, alongside the Pärnu Music This Classical Life. She is a trustee of the to add to his teacher) combines Festival and Järvi Academy in 2010, Conductor HarrisonParrott Foundation. extensive piano the three roles in a Laureate of Frankfurt Radio Symphony, Music high-profile career. discography in the recording studio. Tamar Halperin (piano) Director Laureate of Cincinnati Symphony He has composed He has been Conductor Laureate of performs worldwide both Orchestra and Artistic Advisor of the Estonian for prestigious the Philharmonia Orchestra since as soloist and chamber National Symphony Orchestra, as well as guest orchestras 2000 and as well as performing with musician. With a background conducting the world’s finest orchestras. including Berliner Philharmoniker, the orchestra in London and around in historically informed New York Philharmonic, Wiener Daniel Kharitonov (piano) the UK, tours with them worldwide. performance, including Philharmoniker and the Royal emerged as one of the He served as Music Director of the studies at the Schola Concertgebouw Orchestra, and his brightest talents of the 2015 European Union Youth Orchestra Cantorum in Basel and a third violin concerto, Alhambra, Tchaikovsky International from 2000 to 2015 and as Principal doctorate on J.S. Bach from dedicated to and performed by Competition, winning third Conductor and Artistic Adviser to the The Juilliard School, she also performs jazz Isabelle Faust, received its world prize aged only 16. He made Sydney Symphony Orchestra from and big band music, for which she was given premiere at the Granada Festival his Royal Festival Hall debut 2009 to 2013. This year he became ECHO Jazz awards in 2010 and 2014 with jazz in July 2019 and was subsequently in 2017 and has appeared the orchestra’s first Conductor pianist Michael Wollny. Other awards include the performed in London (BBC Proms), with the Philharmonia Laureate, an appointment created Hessian Cultural Prize, which she shared with Paris and Berlin. In 2019/2020 season Orchestra under the baton of Vladimir for him in recognition of their 50 her husband Andreas Scholl. Eötvös returns as composer and Ashkenazy, Budapest Festival Orchestra with 18 19 DIE FLEDERMAUS BY DEUTSCHE OPER BERLIN © THOMAS JAUK

TRAVELFOR THE ARTS ESCORTED AND BESPOKE HOLIDAYS TO Iván Fischer and Mariinsky Orchestra Leticia Moreno (violin) won conducted by Valery Gergiev. This season the prestigious Echo Rising THE WORLD'S FINEST OPERA HOUSES he debuts with the Tchaikovsky Symphony Star in 2012, leading to Orchestra of Moscow Radio and Vladimir recitals in the main concert AND MUSIC FESTIVALS Fedoseyev in his native Russia. A frequent visitor halls of Europe. Signed to to Asia, this autumn he undertakes a recital tour Deutsche Grammophon TRAVELFOR THE ARTS of Japan and collaborates with NHK Symphony Spain, her most recent Orchestra for the first time. He returns to the album explored the work Southbank Centre in April 2020 to perform of Piazzolla on the 25th Tchaikovsky’s First Piano Concerto with the anniversary of his death in 2017, and she has Philharmonia Orchestra. performed his music across Europe, US and Asia as part of the New Tango Quintet. Her Patricia Kopatchinskaja previous album featured Shostakovich’s First (violin) explores diverse Violin Concerto with Yuri Temirkanov and the St repertoire from Baroque Petersburg Philharmonic Orchestra. This year to new commissions and she gave the premiere of Aurora, a new violin experiments with the nature concerto by Jimmy López, commissioned by of musical communication Houston Symphony. in her performances. This season she tours the US Víkingur Ólafsson, (piano) with cellist Jay Campbell became one of today’s most and performs Ligeti’s Violin Concerto with the sought-after artists following London Symphony Orchestra and Sir Simon the massive impact of his Rattle across Europe and in New York. She tours albums of works by Philip with the Budapest Festival Orchestra under Glass (2017) and J.S. Bach Iván Fischer and with Camerata Bern, whose (2018), which appeared in Artistic Director she has been since 2018 – this several lists of best albums season they release their first album, Time and of the year. His Bach release Eternity, on Alpha Classics. She will also perform was named one of the greatest ever Bach the world premiere of a new commission by recordings by Gramophone magazine and Album Francisco Coll and continue a Vivaldi project of the Year at the 2019 BBC Music Magazine with Il Giardino Armonico, featuring new works. Awards. He has been invited to take up various international artist residencies, starting in Pekka Kuusisto (violin) is 2019/20 at the Berlin Konzerthaus. known for his fresh approach to repertoire, programming Alice Sara Ott (piano) and performance. His various works with the world’s ongoing relationships leading conductors and include as Artistic Partner orchestras, this season with Mahler Chamber making her debut with Orchestra and Saint Paul Berliner Philharmoniker, Chamber Orchestra, and undertaking a and Artistic Director of Australian Chamber European tour with Royal Orchestra Collective. An advocate of new music, Philharmonic Orchestra. She he has given premieres of concertos by Daníel is an exclusive recording artist with Deutsche Bjarnason, Sauli Zinovjev, Anders Hillborg, Grammophon, which released her last album, Andrea Tarrodi and Philip Venables. He works Nightfall, in 2018, featuring works by Satie, 2019/2020 HIGHLIGHTS with people across the creative spectrum – Debussy and Ravel. This year, she continues recent projects include collaborations with art her Nightfall recital tour with performances 24 - 29 DEC CHRISTMAS IN BERLIN 25 - 30 MAR THE MARIINSKY BALLET IN ST PETERSBURG collective Kosminen, neurologist Erik Scherder, in Rotterdam, Berlin, Budapest, Munster, 28 DEC - 02 JAN NEW YEAR WITH MOZART IN PRAGUE 09 - 13 APR THE 25TH BERLIN FESTTAGE electronic music pioneer Brian Crabtree, jazz Friedrichshafen, Bad Kissingen, Hong Kong and 13 - 16 MAR RENÉE FLEMING IN BADEN-BADEN 29 NOV - 07 DEC NEW PARIS RING CYCLE trumpeter Arve Henriksen, juggler Jay Gilligan a tour of China. and folk artist Sam Amidon. REQUEST A FREE BROCHURE OR VISIT OUR WEBSITE https://www.travelforthearts.com/hpp

Travel for the Arts is a division of Specialised Travel Ltd 20 +44 20 8799 8350 quoting reference HPP 21 Santtu-Matias Rouvali extensively with mandolin player Avi Avital, with Bernstein and Gershwin, recorded with BBC Last season, she performed Wieniawski’s (conductor) begins his tenure whom she recently toured the US with Orpheus Concert Orchestra under Bill Elliott. This season Concerto No.1 with the Mariinsky Symphony as Principal Conductor of Chamber Orchestra, and other chamber music she tours South East Asia with London Chamber Orchestra at the White Nights Festival in St the Philharmonia in 2021, partners include Nemanja Radulović, Camille Orchestra and makes her US debut with the Petersburg, Waxman’s Carmen Fantasie with in the meantime serving Thomas, Leticia Moreno, the Goldmund Quartet, National Symphony Orchestra. She continues Novosibirsk Symphony Orchestra at Vadim as Principal Conductor Nicola Benedetti and Joseph Calleja. to work in jazz and in 2018 made her festival Repin’s Trans-Siberian Art Festival – broadcast Designate while continuing debut at Jazz in Marciac as the opening act for on BBC Radio 3 – and embarked on a two-week, as Chief Conductor of both Tamara Stefanovich (piano) trumpeter Wynton Marsalis. six-city tour of Israel with the Tel Aviv Soloists Gothenburg Symphony and performs internationally Ensemble. She has won many international Tampere Philharmonic Orchestra. In demand as both chamber musician Zwakele Tshabalala (tenor) prizes, with successes including first prize at around the world, this season he makes and soloist with the world’s is currently studying for his Moscow’s International “Nutcracker” Television debuts with the New York Philharmonic, Berlin leading orchestras, her Master of Performance at Contest for Young Musicians. She has been Philharmonic and the Royal Concertgebouw repertoire ranging from Bach the Royal College of Music, featured by international media outlets Orchestra, with whom he conducts Oedipus to contemporary works. London, where he has been including Classic FM, BBC News, Violin Channel Rex. His Gothenburg season opens with the Last year she featured as awarded a full scholarship. and The Strad magazine. orchestra’s Artist-in-Residence Leif Ove Artist in Focus with the His recent performances as Andsnes, and he takes the orchestra on tour Orquestra Sinfônica do Estado de São Paulo, Hot Biscuit Slim in English to Japan in 2020. Their recent first disc of a performing with Pierre-Laurent Aimard. She National Opera’s critically Sibelius cycle won Gramophone magazine’s recently released her first album for Pentatone, acclaimed Paul Bunyan at Alexandra Palace Editor’s Choice, a German Record Critics’ Award Influences, including solo works by Bach, Bartók, highlighted him as a standout soloist and a and the prestigious French Diapason d’Or ​ Ives and Messiaen that demonstrate the impact young talent to watch. Born in South Africa, he Découverte award. of a variety of cultures on classical composers. left home to join the Drakensberg Boys Choir The Philharmonia is a world-class symphony Last season she performed at the Berlin and was a member of the South African Youth orchestra for the 21st century. Andreas Scholl Philharmonie, Barbican Centre and Carnegie Choir. In 2012 he joined the South African (counter-tenor) has been Hall. She co-founded and curates The Clearing, College of Music, studying for a performance Based in London at Southbank Centre’s Royal heard in all the world’s a festival dedicated to sharing contemporary diploma in opera under the supervision of Festival Hall, and with a thriving national and leading concert halls, music, part of Portland International Piano Series. Virginia Davids and Khamal Khan. He made his international touring schedule, the Philharmonia theatres and festivals operatic debut at the opera school as Giuseppe creates thrilling performances for a global throughout his distinguished István Várdai (cello), has in La traviata in 2013, and in 2016 was the audience. Through its network of residencies, career, as well as in solo performed at Wigmore winner of The Schock Foundation Prize for the Orchestra has a national footprint, serving recordings that remain Hall three times this year, Singing at the University of Cape Town. communities across England both on stage and catalogue favourites, across including as part of a through its extensive outreach and engagement opera, recital and oratorio repertoire. He made European tour of Schubert Jörg Widmann (clarinet, programme. history in 2005 as the first countertenor and trios with pianist Elisabeth composer, conductor) is the first German to perform as a soloist at the Leonskaja and violinist Liza one of the most versatile Founded in 1945, in part as a recording Last Night of the BBC Proms. He has won many Ferschtman. He has worked artists of his generation. As a orchestra for the nascent home audio market, awards, including the Hessian Cultural Prize, with orchestras such as St clarinettist he performs with today the Philharmonia uses the latest shared with his wife Tamar Halperin, and away Petersburg Symphony Orchestra, Orchester de renowned orchestras and his digital technology to reach new audiences for from the concert platform he creates films and la Suisse Romande and Kremerata Baltica, with compositions are performed symphonic music. composes music from his own studio. a wide-ranging repertoire that encompasses by conductors such as Daniel 20th-century masterpieces by Prokofiev and Barenboim, Valery Gergiev The Philharmonia is led by Finnish conductor Ksenija Sidorova (classical Dutilleux. With Kristóf Baráti, he serves as and Sir Simon Rattle. He has served as artist-in- and composer Esa-Pekka Salonen, its Principal accordion) is a leading Artistic Director of the Kaposfest Chamber residence with leading festivals and orchestras Conductor & Artistic Advisor since 2008. Fellow ambassador for the Music Festival in Hungary, and he plays the 1673 and was the first ever Gewandhaus Composer, Finn Santtu-Matias Rouvali takes over from instrument. Her repertoire ‘Ex du Pré-Harrell’ Stradivari. in 2017/18. In the coming season he holds the Salonen as Principal Conductor in the 2021/22 spans Bach and Bizet to Richard and Barbara Debs Composer’s Chair at season. Piazzolla and Erkki-Sven Lucienne Renaudin Carnegie Hall. Tüür, and she has premiered Vary (trumpet) was the The Philharmonia is a registered charity that concertos by composers first trumpeter ever to Leia Zhu (violin), aged 12, relies on funding from a wide range of sources Benjamin Wallfisch be accepted into both has already performed at to deliver its programme and is proud to be and Claudia Montero and will give the first the Classical and Jazz some of the world’s most generously supported by Arts Council England. performance of a work by Arturs Maskats in departments of the Paris prestigious festivals and The Philharmonia’s Principal International 2020. She regularly performs with prominent Conservatoire at the same venues. As ‘The Violin Girl’, Partner is Wuliangye. orchestras, this season including Munich time. She has just released she regularly posts YouTube Philharmonic, Shanghai Symphony Orchestra her second album for Warner vlogs, attracting thousands and Tonhalle-Orchester Zürich. She has worked Classics, Demoiselle in New York, music by of subscribers and views. 22 23 The orchestra The

1ST VIOLINS Deirdre Cooper HORNS Zsolt-Tihamér Visontay Yaroslava Trofymchuk Nigel Black Sarah Oates Miwa Rosso Laurence Davies Fabrizio Falasca Coral Lancaster Kira Doherty Eunsley Park Tamaki Sugimoto Carsten Williams Adrián Varela Yvonne-Marie Parsons Elise Campbell TH Soong Choo HAPPY 50 Lulu Fuller BASS TRUMPETS Minhee Lee Tim Gibbs Chris Evans Victoria Irish Christian Geldsetzer Will Morley Alessandro Cannizzaro Alex Henery BIRTHDAY Clare Hoffman Gareth Sheppard ALTO TROMBONE Diana Galvydyte Simon Oliver Byron Fulcher Caroline Frenkel Siret Lust Ingrid Button Joseph Cowie TROMBONES Marciana Buta Byron Fulcher Cindy Foster FLUTES Philip White Thomas Hancox HARRISON 2ND VIOLINS June Scott BASS TROMBONE Annabelle Meare Keith Bragg James Buckle Fiona Cornall Samantha Reagan PICCOLO TUBA Gideon Robinson Keith Bragg Peter Smith PARROTT Nuno Carapina Paula Clifton-Everest OBOES TIMPANI Sophie Cameron Tom Blomfield Matt Perry Julian Milone Alex Hilton Jan Regulski Jill Crowther PERCUSSION Susan Hedger Emmanuel Curt Helen Cochrane COR ANGLAIS Peter Fry FROM YOUR FRIENDS AT Marina Gillam Jill Crowther Kevin Hathway Nicola Goldscheider Richard Cartlidge CLARINETS Christopher Terian VIOLAS Mark van de Wiel Tim Gunnell DECCA Yukiko Ogura Jennifer McLaren Nicholas Bootiman Jordan Black HARP William Bender Heidi Krutzen Linda Kidwell E FLAT CLARINET Stephanie Beck CLASSICS Cheremie Hamilton-Miller Jennifer McLaren Michael Turner CELESTE Carol Hultmark BASS CLARINET Catherine Edwards Joseph Fisher Katy Ayling Pamela Ferriman ORGAN Lucia Ortiz Sauco BASSOONS Richard Pearce Louise Hawker Jonathan Davies Ellen Blythe Shelly Organ Luke Whitehead This list comprises the players performing in this concert. CELLOS It was correct at the time of Richard Birchall CONTRA BASSOON going to print but is subject Eric Villeminey Luke Whitehead to alteration. For the full list Ella Rundle of Philharmonia members, please visit philharmonia. Alexander Rolton co.uk/orchestra/players. 24 25 HP Artists HP CONDUCTORS Daniel Kharitonov ENSEMBLE Russell Thomas ORCHESTRAS & ENSEMBLES VOCAL GROUPS & OPERA John Adams Nikolai Lugansky Goldmund Quartet Zwakele Tshabalala Accademia Bizantina Audi Jugendchorakademie Stefan Asbury Víkingur Ólafsson Spira mirabilis Christopher Ventris Antwerp Symphony Orchestra Bayreuther Festspiele Vladimir Ashkenazy Alice Sara Ott Tetzlaff Quartett Bamberger Symphoniker Finnish National Opera Steuart Bedford Javier Perianes BARITONE BBC National Orchestra of Wales Komische Oper Berlin Tabita Berglund Maurizio Pollini COMPOSER Jonathan McGovern BBC Scottish Symphony Orchestra Malmö Opera Daníel Bjarnason Hüseyin Sermet Daníel Bjarnason Alex Otterburn BBC Symphony Orchestra Teatro Comunale di Bologna Pierre Bleuse Tamara Stefanovich Peter Eötvös Adrian Timpau Boston Symphony Orchestra Tenebrae Daniel Blendulf Jean-Yves Thibaudet Krzysztof Penderecki Budapest Festival Orchestra Thomanerchor Leipzig Constantinos Carydis Nobuyuki Tsujii Hüseyin Sermet BASS-BARITONE Camerata Bern The King’s Singers Elim Chan Alexei Volodin Jörg Widmann Andrew Camerata RCO Vienna Boys’ Choir Han-Na Chang Lukáš Vondráček Foster-Williams Canadian Brass Stephanie Childress Krystian Zimerman PRODUCER Greer Grimsley Chamber Orchestra of Europe DANCE, THEATRE & WORLD MUSIC Harry Christophers Claire Chase Shenyang Concerto Köln Acosta Danza Christoph von VIOLIN Božidar Smiljanić Curtis Symphony Orchestra English National Ballet Dohnányi Lisa Batiashvili VOCAL Derek Welton Danish National Symphony Orchestra Kodo Peter Eötvös Lorenza Borrani The Deutsche Kammerphilharmonie Bremen Paco Peña Flamenco Dance Company Lawrence Foster Stephanie Childress SOPRANO BASS Deutsches Symphonie-Orchester Berlin Rambert Martin Fröst Leila Josefowicz Emma Bell Ain Anger Die Karajan Akademie of the Shakespeare’s Globe Rumon Gamba Patricia Kopatchinskaja Claudia Boyle Stephen Milling Berliner Philharmoniker Sidi Larbi Cherkaoui/Eastman Eivind Gullberg Jensen Erzhan Kulibaev Susan Bullock Ensemble Resonanz Youssou Ndour Patrick Hahn Pekka Kuusisto Nicole Cabell DIRECTOR Estonian Festival Orchestra Barbara Hannigan Riccardo Minasi Layla Claire Kasper Holten Finnish Radio Symphony Orchestra STRATEGIC CONSULTANCIES Pablo Heras-Casado Alina Pogostkina Jenny Daviet Francisco Negrin Frankfurt Radio Symphony Orchestra Cartagena Festival Internacional de Musica Paavo Järvi Benjamin Schmid Mari Eriksmoen Freiburger Barockorchester Estonian Festival Orchestra François Leleux Gil Shaham Lauren Fagan POLYARTS Gothenburg Symphony Gothenburg Symphony Hannu Lintu Sayaka Shoji Barbara Hannigan Attacca Quartet Gürzenich Orchester Köln Marvão International Music Festival Klaus Mäkelä Akiko Suwanai Georgia Jarman Cañizares Helsinki Philharmonic Orchestra Shakespeare Birthplace Trust Susanna Mälkki Christian Tetzlaff Danae Kontora Avishai Cohen Iceland Symphony Orchestra Soundforms: Acoustic Open – Air Stages Antonio Méndez Stephen Waarts Karita Mattila Stewart Copeland Il Giardino Armonico Riccardo Minasi Noa Wildschut Marie McLaughlin Carl Craig Irish Chamber Orchestra PARTNERSHIPS Natalie Murray Beale Esther Yoo Mirjam Mesak Ollie Howell Les Siècles Barbara Hannigan: Equilibrium Young Artists Kent Nagano Leia Zhu Aga Mikolaj Quincy Jones & Friends London Chamber Orchestra Maxime Pascal: Le Balcon Michał Nesterowicz Catherine Naglestad Derrick May London Philharmonic Orchestra Sakari Oramo CELLO Brenda Rae Troy Miller LUDWIG PROMOTIONS Taavi Oramo Nicolas Altstaedt Golda Schultz Leticia Moreno Luzerner Sinfonieorchester International Piano Series Maxime Pascal Gautier Capuçon Camilla Tilling Eímear Noone Maggio Musicale Fiorentino Krzysztof Penderecki Henri Demarquette Miina-Liisa Värelä Mari Samuelsen Mahler Chamber Orchestra Josep Pons Sol Gabetta Erin Wall Christian Schumann Minnesota Orchestra Christoph Poppen Alban Gerhardt Laura Wilde Nadia Sirota Münchner Philharmoniker Kristiina Poska Klaus Mäkelä Becca Stevens New Zealand Symphony Orchestra We would like to thank Lawrence Renes Truls Mørk MEZZO-SOPRANO Francesco Tristano NDR Elbphilharmonie Orchester Santtu-Matias Rouvali Jonathan Roozeman Alyona Abramova NDR Radiophilharmonie The HP50 Team Jiří Rožeň Alexey Stadler Jamie Barton NHK Symphony Orchestra Tahlia Petrosian (Producer), Christopher Seaman István Várdai Rihab Chaieb NYO Canada Ance Kolibere, Tracy Lees, Aziz Shokhakimov Allison Cook Orchestra Ensemble Kanazawa Fiona Livingston, Karoline Melstveit Lan Shui CLARINET Katarina Dalayman Orchestre Symphonique de Montréal Dalia Stasevska Dimitri Ashkenazy Charlotte Hellekant Oslo Philharmonic Sefton Woodhouse and Caroline Hilton Eduardo Strausser Martin Fröst Hanna Hipp Philharmonia Orchestra at HOUSE Anu Tali Jörg Widmann Rachel Kelly Philharmonisches Staatsorchester Hamburg Osmo Vänskä Maya Lahyani Royal Concertgebouw Orchestra Péter Eötvös for writing a new work Nil Venditti OBOE Bethan Langford Royal Liverpool Philharmonic Orchestra specially Arvo Volmer François Leleux Lilli Paasikivi Royal Stockholm Philharmonic Orchestra Edo de Waart Katie Stevenson Scottish Ensemble Gillian Moore, Director of Music, Christopher TRUMPET Anne Sofie von Otter Singapore Symphony Orchestra Southbank Centre Warren-Green Lucienne Spira mirabilis Jörg Widmann Renaudin Vary COUNTER-TENOR St Louis Symphony Orchestra David Zinman Anthony Roth Tampere Philharmonic Orchestra Ariel Zuckermann ACCORDION Costanzo Tonhalle-Orchester Zürich Ksenija Sidorova Andreas Scholl Trondheim Solistene Photo credits PIANO Lawrence Zazzo Trondheim Symfoniorkester Omar Ayyashi (Moreno); Julia Bayer (Järvi); Jonas Behzod Abduraimov SAXOPHONE Wiener Philharmoniker Becker (Ott); Marco Borggreve (Kopatchinskaja, Pierre-Laurent Aimard Jess Gillam TENOR Wiener Symphoniker Stefanovich, Widmann); Andrea Felvegi (Eötvös); Vladimir Ashkenazy Paul Appleby Simon Fowler (Renaudin Vary); Camilla Greenwell Yulianna Avdeeva HARP Barry Banks SPECIAL PROJECTS (Philharmonia); Gregor Hohenberg (Halperin); Jean-Efflam Bavouzet Xavier de Maistre John Daszak BBC Proms in Japan Samantha Jackson (Tshabalala); Kaupo Bertrand Chamayou James Ley Pekka Kuusisto: Theme and Variations Kikkas (Gerhardt, Gillam); Peter Kiss (Vardai); Lise de la Salle FLUTE Amitai Pati Willeke Machiels (Chan); Ari Magg (Olafsson); Angela Hewitt Claire Chase Pene Pati Liene Petersone (Sidorova); Keith Saunders Stephen Hough David Portillo (Ashkenazy); Maija Tammi (Kuusisto); Julia Joseph Kalichstein Jack Swanson Wesely/Wiener Konzerthaus (Aimard)

26 27 HP Foundation HP As part of its 50th anniversary celebrations, Two of the new HarrisonParrott Foundation’s HarrisonParrott today launches a new foundation that looks to the next 50 years by helping to make classical trustees explain why they’re getting involved music more inclusive. LORNA AIZLEWOOD introduces it

One of the arguments we hear perpetually is that classical I’m so pleased to be involved in the HarrisonParrott music is elitist. We know this isn’t necessarily true, but it Foundation. I’m going to be a trustee but also be involved is vital to make sure that all young people have access to on a more practical level, going into schools and playing to, the many benefits classical music offers whatever their and with, children. education, ethnic or socio-economic background. Children have an intuitive reaction at a young age, but As part of our 50th anniversary, we are setting up the new often music is not incorporated into the mainstream HarrisonParrott Foundation with a focus on this issue. curriculum in any way. It’s seen as an add-on in schools Everyone in the company feels strongly that from a moral and is side-lined early on. It should be an integral part of standpoint we must play whatever part we can in making any education. access to the arts and culture fairer. ‘From a moral Music is one of the most demanding subjects and there The Foundation is partnering with Tri-borough Music Hub, is so much to take from it, aside from the mechanics of standpoint which delivers innovative music programmes to three learning an instrument. It can enrich so many other parts we must play councils in West London, and will engage with the Hub’s of a child’s life, teaching them cooperation, resilience, whatever part activities through our artists, giving children who have often determination, communication and interaction. The fact we can in had no contact with classical music – and their families – Kikkas Kaupo that it’s side-lined affects how creatively children can making access the chance to hear, play and talk with world-class artists. think, which has an impact upon every other subject area. to the arts and Music should be a core subject within the curriculum. ‘Young culture fairer’ It’s just as important that people working behind the scenes in the arts come from different backgrounds, and performers The first concert I remember was a saxophone quartet we are working with Creative Access, funding two people have a duty my parents took me to when I was about 11. I’d never from BAME backgrounds in fully paid internships every to make sure heard a saxophone sound like that and was completely six months. We’re also excited to be able to help the young that the next blown away. That’s when I started playing saxophone South African tenor Zwakele Tshabalala get his visa so he generation has more seriously. Until then I was playing pop tunes, but at can study at the Royal College, supporting him financially. that point I decided I wanted to be the best I could be and music in their started studying more seriously. We’ve put our money where our mouth is as a company, lives’ which is the only way things will change. We hope you will One of the most important things I’ve learnt is that once support us in this important campaign. Details for making you take away all the traditions that surround music, it a donation are on page 30. is just a form of communication. My ambition with every single performance, recording and concert is to move Lorna Aizlewood someone, whether that be to bring them some joy, make Chief Operating Officer & General Counsel, HarrisonParrott them feel any kind of emotion or cause them to question A young singer something. My role is to communicate through a language performs in that is more universal than any other language, and to do Tri-borough’s that as well as I can. Christmas Festival

Samantha Jackson Young performers have a duty to make sure that the next South African tenor generation has music in their lives. I think this can be Zwakele Tsablala has begun his through us going into schools and being involved on a studies at the Royal practical level, or it can be through speaking about it and College of Music trying to promote music education. Jess Gillam Saxophonist Sheila Burnett 28 29 I’m delighted to have become a trustee of the HarrisonParrott Foundation. Funding for the arts in schools, particularly music, is a real issue at the moment, as well as the fact that the school music syllabus isn’t inclusive.

We’re going to look at ways to tackle the problems, taking music into schools where students don’t have access because there isn’t the funding. We will bring in professional musicians to perform for, and with, the students, making sure they have some music in their lives. Steve Pringle Steve Throughout my career, I’ve benefitted from people ‘We’re taking mentoring me, giving me advice or a leg up. I didn’t go music into to a wealthy school, but I was able to learn musical schools where instruments, and I feel privileged to have had that. I students don’t wouldn’t be where I am now without other people helping have access me, and it’s important to give back. because there Ollie Howell isn’t the funding’ Composer, drummer, producer

Specialist insurance cover for Through HarrisonParrott’s Artists for Inclusivity scheme, working with Tri-borough Music Hub, which delivers music programmes to schools in West London, three HarrisonParrott artists will take part in workshops professional and non-professional with the Hub’s students in the coming weeks: Stephanie Childress (7 October), Ollie Howell (9 November) and Susan Bullock (28 November). musicians and their instruments.

Young students from Tri-borough Music Hub’s orchestras *Benefits include: We can also provide Accidental damage cover cover for personal accident and Cover anywhere in the world If you quote HP50 No policy excess personal liability. we will donate 10%

Sheila Burnett Unattended vehicle cover of the premium to Flexible instrument repair The Harrison Parrott Cover available for Foundation Can you help? rental instruments Making a donation to the HarrisonParrott Foundation is simple – please go to www.harrisonparrott.com/foundation.

Your money will support the Foundation’s programmes to bring greater PROMOTION diversity and inclusivity to classical music. Get in touch for a quote Part of the One Broker Group If you would like to find out more about the Foundation or get involved WeLoveMusicians is a trading style of One Broker (Cambridge) Ltd in any other way, please contact [email protected]. 01223 792265 who is authorised and regulated by the Financial Conduct Authority. Registered in England and Wales No. 01149934. Lakeside 300, www.welovemusicians.co.uk Old Chapel Way, Broadland Business Park, Norwich NR7 0WG 30 *Subject to the terms and conditions of the policy wording. 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 a member of staff for assistance.

Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Providing bespoke IT solutions Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, since 2003 iconic buildings and central London location. Explore across the site with Foyles, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Honest Burger, Côte Brasserie, Skylon, Topolski and Spiritland.

If you wish to get in touch with us following your visit, please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone us on 020 3879 9555, or email [email protected]

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

PHOTOGRAPHY is not allowed in the auditorium.

LATECOMERS are only admitted to the auditorium if there is a suitable break in the performance.

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

MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

As proud IT partner to HarrisonParrott, Dr Logic is delighted to support their 50th Anniversary concert. We wish them every success for the next 50 years.

Passionate about all things Apple, Dr Logic enables companies big and small to thrive with flexible, outsourced IT solutions.

[email protected] 020 3642 6540 www.drlogic.com

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Dr Logic ad 2.indd 1 03/09/2019 10:18 The future The The arts world has changed massively over the last 50 years. Where might it be headed in the next half century? We asked some HarrisonParrott artists and staff CONGRATULATIONS! Over the years a joint belief in innovation, expertise and responsiveness has united Santtu-Matias Rouvali Viola Frankenfeld HarrisonParrott and LUXREISEN to become perfect partners in the world of the performing arts. My hope is that we educate the The idea of flying a hundred people Our sincere congratulations on your 50th Anniversary! younger generations to be the audi- from A to B the whole time is We look forward to many more years of exciting, joint ventures. ence of the future and that they join increasingly problematic. With us at concerts. We have to make costs climate change, this is something low so that students can buy tickets. we need to think about. It’s easy to It’s okay for orchestras to think com- send one person on a train, but it’s mercially and look at different kinds impossible to send a whole orchestra of projects which excite the media and somewhere far away without flying. make people come to concerts. The People are starting to discuss this. media has a lot of influence in how Some Scandinavian orchestras are it writes about classical music – we only inviting artists who agree not to need journalists to write more about come by airplane. It’s a challenge for the new projects that are happening, us to make that work in the schedule, and not just the conservative ones. but I expect there to be more requests like this in future.

Ollie Howell Christopher Seaman We’re in an interesting time. Everything is changing and it’s ex- We are teaching people to listen citing to follow where it’s going. One with their eyes and not their ears. of the great things now is how easy Some people daren’t put on Holst’s it is for everyone to make and share Planets now without screens all music. It’s really pushing people. round and flashing stars. Some You don’t need to put yourself in a younger soloists feel the need to particular musical box relating to the emote and look agonised when the categories of a CD shop any more big tune comes. People are so desper- or worry about concert program- ate for audiences to love music that ming. There are so many avenues to they appeal to absolutely everything a particular genre that categories they may respond to. That might be are almost meaningless. You can try okay, but it’s a change and musicians anything and it’s pushing people to have to decide what to do about it. experiment, which is great. There are LUXREISEN – The specialist in Orchestra and Choir Tour Management for almost ways to earn money, but it’s become 50 years. Worldwide orchestras and choirs value our professional, precise and more complicated to be a musician. Alban Gerhardt personal approach to organising their tour travel. It’s also liberating in a musical sense. Thanks to the work most musi- * AIR TRAVEL: IATA Agent with full in house reservation and ticket service, charter options etc. cians do now – all the outreach * ROAD TRAVEL: Train travel, bus transfers, rental cars, chauffeur driven services etc. Yukiko Shishikura programmes and taking music into * CARGO AND INSTRUMENT TRANSPORT: Documents, Air Cargo on regular and chartered schools – classical music has opened services, worldwide network of specialised freight agents, our own load manager to supervise There are so many great violinists up to a greater variety of people. loading and unloading etc. and pianists and they need to Social media has been a great tool to * TOUR MANAGEMENT: Visas, entry certificates and insurances, travel itineraries, tour guides, differentiate themselves. There needs look behind the scenes and show that hotel reservations, closing tour statement etc. to be a story or message behind a what we do is cool, taking us out of programme, and they need to tell the our ivory towers. Twenty years ago, it audience what that is. This started a seemed we might fight with irrele- while ago, but I see it more now. vancy, but I don’t think we have to be LUXREISEN afraid of that any more. Chor- & Orchestertourneen

34 LUXREISEN GmbH Bonn/Germany · Annette Lux & Brigitta Lux · Tel. +49 (0)228/983 637-0 · WWW.LUXREISEN.DE