LPO Programme book 25 Nov 11

Principal Conductor VLADIMIR JUROWSKI*Principal Guest Conductor YANNICK NÉZET-SÉGUINLeader pIETER SChOEMANComposer in Residence JULIAN ANDERSONPatron hRh ThE DUKE OF KENT KG

Chief Executive and Artistic Director TIMOThY WALKER AM†

pROGRAMME £3

CONTENTS 2 Welcome 3 List of players4 About the Orchestra5 Eduardo Portal 6 Craig Ogden 7 Programme notes11 LPO Christmas gifts12 2011/12 Annual Appeal13 Supporters 14 Recordings15 Future concerts16 LPO administration The timings shown are not precise and

are given only as a guide.

* supported by the Tsukanov Family † supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

JTI FRIDAY SERIES SOUThBANK CENTRE’S ROYAL FESTIVAL hALLFriday 25 November 2011 | 7.30pm

EDUARDO pORTALconductor

CRAIG OGDENguitar

ANTONIO JOSÉ Suite, The Muleteer (9’)

RODRIGO Concierto de Aranjuez (22’)

FALLA Suites Nos. 1 and 2 from ‘The Three-Cornered Hat’ (25’)

Interval MUSSORGSKY (orch. Ravel) Pictures at an Exhibition (30’)

2 | London Philharmonic Orchestra

WELCOME

WELCOME TO SOUThBANK CENTRE

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

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

If you wish to get in touch with us following your visit please contact Kenelm Robert, our Head of Customer Relations, at Southbank Centre, Belvedere Road, London SE1 8XX or phone 020 7960 4250 or email [email protected]

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment: phOTOGRAphY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, pAGERS AND WATChES should be switched off before the performance begins.

Enjoyed the concert? Donate by text

The London Philharmonic Orchestra has teamed up with Just Giving to enable you to donate by text message. It is one of the easiest ways to give, and 100% of the donation will go towards the Orchestra’s work both on and off the concert platform.

To donate, text phIL12 and the amount you wish to donate (£1, £2, £3, £4, £5, or £10) to 70070.

e.g. to donate £10, text phIL12 £10 to 70070

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Donating via text message is just one of the ways you can support the Orchestra’s 2011/12 Fundraising Appeal in aid of The Community Programme. More details about the Appeal can be found on page 12.

lpo.org.uk/text

Texts are charged at your mobile phone operator’s standard rate. The charity [the London Philharmonic Orchestra] will receive 100% of your donation. You must be 16 or over and please ask the bill payer’s permission. For full terms and conditions and more information, please visit www.justgiving.com/info/terms-of-service.

London Philharmonic Orchestra | 3

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LONDON phILhARMONIC ORChESTRA

First ViolinsVesselin Gellev Leader

Chair supported by

John and Angela Kessler

Grace LeeCatherine CraigTina GruenbergMartin Höhmann

Chair supported by

Richard Karl Goeltz

Geoffrey LynnRobert PoolYang ZhangRebecca ShorrockPeter NallGalina TanneyJoanne ChenAlina PetrenkoCaroline Frenkel

Second ViolinsClare Duckworth Principal

Chair supported by

the Sharp Family

Joseph Maher Kate Birchall

Chair supported by David

and Victoria Graham Fuller

Fiona HighamAndrew ThurgoodAshley StevensMarie-Anne MairesseNynke HijlkemaImogen WilliamsonSioni WilliamsStephen Stewart Naomi Anner

ViolasHelen Kamminga

Guest Principal Robert DuncanKatharine LeekBenedetto PollaniLaura VallejoSusanne MartensDaniel CornfordMichelle BruilStephen GorringeMatthias Wiesner

CellosTimothy Walden

Guest PrincipalFrancis BucknallLaura DonoghueJonathan Ayling

Chair supported by Caroline,

Jamie and Zander Sharp

Susanna RiddellTae-Mi SongWilliam RoutledgePhilip Taylor

Double BassesTim Gibbs PrincipalLaurence LovelleGeorge PenistonHelen RowlandsTom WalleyLowri Morgan

FlutesDaniel Pailthorpe

Guest PrincipalJoanna Marsh

piccoloStewart McIlwham* Principal

OboesIan Hardwick PrincipalAngela Tennick

Cor AnglaisSue Bohling Principal

Chair supported by Julian

and Gill Simmonds

ClarinetsNicholas Carpenter* PrincipalKatie Lockhart

Bass Clarinet Paul Richards Principal

Alto Saxophone Martin Robertson

BassoonsPaul Boyes Guest Principal Susanna Dias

Contra-bassoonSimon Estell Principal

hornsAdrian Uren Guest PrincipalMartin HobbsNicolas WolmarkGareth MollisonEmma Whitney

TrumpetsPaul Beniston* PrincipalAnne McAneney*

Chair supported by

Geoff and Meg Mann

Nicholas Betts Co-PrincipalDaniel Newell

TrombonesMark Templeton* PrincipalDavid WhitehouseBecky Smith

Bass TromboneLewis Edney

EuphoniumDavid Whitehouse

TubaLee Tsarmaklis* Principal

TimpaniSimon Carrington* Principal

percussionAndrew Barclay* Principal

Chair supported by

Andrew Davenport

Keith MillarSacha JohnsonEddy HackettSarah Cresswell

harpsRachel Masters* PrincipalEmma Ramsdale

piano / Celeste Catherine Edwards

* Holds a professorial appointment in London

Vesselin Gellev (Leader)

Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammy-nominated Absolute Ensemble. He has performed as Guest Leader with orchestras including the Royal Philharmonic Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra and the Accademia Nazionale di Santa Cecilia. Vesselin studied at The Juilliard School, and joined the London Philharmonic Orchestra as Sub-Leader in 2007. His chair is supported by John and Angela Kessler.

LONDON phILhARMONIC ORChESTRA


The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most adventurous and forward-looking orchestras. As well as performing classical concerts, the Orchestra also records film and computer game soundtracks, has its own record label, and reaches thousands of Londoners every year through activities for schools and local communities.

The Orchestra was founded by Sir Thomas Beecham in 1932, and since then has been headed by many of the great names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Russian Vladimir Jurowski, appointed in 2007, with French-Canadian Yannick Nézet-Séguin as Principal Guest Conductor.

The Orchestra is based at Royal Festival Hall in London’s Southbank Centre, where it has performed since it opened in 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. Concert highlights in 2011/12 include a three-week festival celebrating the music of Prokofiev, concerts with artists including Sir Mark Elder, Marin Alsop, Renée Fleming, Stephen Hough and Joshua Bell, and several premières of works by living composers including the Orchestra’s Composer in Residence, Julian Anderson. In addition to its London concerts, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency accompanying the famous Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra since 1964.

The London Philharmonic Orchestra tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first-ever visit to China by a Western orchestra. Touring remains a big part of the Orchestra’s life: tours in the 2011/12 season include visits to Belgium, Switzerland, Germany, the US, Spain, China, Russia, Oman, Brazil and France.

You may well have heard the London Philharmonic Orchestra on film soundtrack recordings: it has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, Philadelphia and East is East. The Orchestra also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 50 releases on the label, which are available on CD and to download. Recent additions include Dvořák’s Symphonic Variations and Symphony No. 8 conducted by Sir Charles Mackerras; Holst’s The Planets conducted by Vladimir Jurowski; Mahler’s Symphony No. 8 under Klaus Tennstedt; Shostakovich Piano Concertos with Martin Helmchen under Vladimir Jurowski; and Sibelius’s Symphony No. 5, Pohjola’s Daughter and Lutosławski’s Concerto for Orchestra under Jukka-Pekka Saraste. The Orchestra was also recently honoured with the commission to record all 205 of the world’s national anthems for the London 2012 Olympics Team Welcome Ceremonies and Medal Ceremonies.

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

The London Philharmonic Orchestra maintains an energetic programme of activities for young people and local communities. Highlights include the ever-popular family and schools concerts, fusion ensemble The Band, the Leverhulme Young Composers project and the Foyle Future Firsts orchestral training scheme for outstanding young players. Over the last few years, developments in technology and social networks have enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel, news blog, iPhone app and regular podcasts, the Orchestra has a thriving presence on Facebook and Twitter.

Find out more and get involved!

lpo.org.uk

facebook.com/londonphilharmonicorchestra

twitter.com/LpOrchestra


EDUARDO pORTALCONDUCTOR

masterclass with Sir Colin Davis, and he also took part in several masterclasses with Bernard Haitink and Peter Eötvös, amongst others.

Eduardo is particularly committed to contemporary repertoire and is founder of the Antares Ensemble in Spain, whose focus is on the performance of new music and research into its links with historical and rarely performed masterpieces.

During the 2011/12 season, young Spanish conductor Eduardo Portal will make his débuts with the Philharmonia Orchestra; the Lausanne Chamber and Vienna Chamber orchestras; the Tenerife, São Paulo and

Madrid symphony orchestras (including performances with the latter at the Auditorio Nacional de Musica de Madrid and the Teatro Real); and the Orquesta Sinfonica de Galicia. Last season he made his débuts with the Hallé, Brandenburgisches Staatsorchester Frankfurt, Northern Sinfonia, Manchester Camerata, Euskadi Symphony Orchestra, Orquesta de la Comunidad de Madrid and Orquesta del Vallés.

Recent seasons have seen Eduardo conduct the Orchestra of the Age of Enlightenment, Orchestre Philharmonique de Luxembourg, Berlin Symphony Orchestra, Orquesta Sinfonica de Castilla y Leon, Orquesta Sinfonica de la Region de Murcia and National Youth Orchestra of Spain. His operatic experience includes performances of Offenbach’s La Belle Hélène, Janáček’s Katya Kabanová, Bernstein’s Candide, Rossini’s The Barber of Seville and Handel’s Imeneo. In summer 2011 he assisted on Donizetti’s L’elisir d’amore at Glyndebourne Festival Opera.

Since graduating from the University of the Arts in Berlin and the Royal Academy of Music in London, Eduardo has held the position of Assistant Conductor at the London Philharmonic Orchestra (during the 2010/11 season), the Orchestra of the Age of Enlightenment and the National Youth Orchestra of Spain.

Sir Mark Elder headed the jury that in 2008 unanimously voted Eduardo winner of the Junior Fellowship in Conducting at the Royal Northern College of Music, a position he held for two years.

In 2008 Eduardo was chosen to conduct at the Interaction Workshops in Germany with musicians from the Berlin Philharmonic, the Staatskapelle Dresden and baritone Thomas Quasthoff; he was later invited to conduct the London Symphony Orchestra in a public

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Australian guitarist Craig Ogden is one of the most exciting artists of his generation. His CD, The Guitarist, was No. 1 in the UK classical chart for six weeks after being released by Classic FM in summer 2010 and

his latest CD, Summertime, also shot straight to No. 1. Craig’s recent performances have included concertos with the Hallé, Ulster Orchestra, City of London Sinfonia and English Symphony Orchestra. Future plans include a series of six concerts at the Royal Albert Hall in London and with the WDR Orchestra in Cologne, as well as recordings and broadcasts for the BBC and a busy schedule of recitals throughout the UK and abroad.

Craig Ogden studied at the University of Western Australia, followed by the Royal Northern College of Music’s Professional Performance Diploma with Distinction, the RNCM’s highest award for performance. In December 2004 Craig Ogden was honoured by the RNCM with a Fellowship in recognition of his achievements.

Performances have taken Craig to venues throughout the UK, Europe, the USA, southeast Asia, South Africa and Australia. In the UK he has performed concertos with the London Symphony, BBC Symphony, Royal Philharmonic, Hallé, BBC Philharmonic, City of Birmingham Symphony, Royal Scottish National, Bournemouth Symphony, Royal Liverpool Philharmonic, and Philharmonia orchestras, and with the BBC National Orchestra of Wales, Northern Sinfonia, Britten Sinfonia, English Sinfonia and Manchester Camerata, among others. His concerto appearances elsewhere include the Accademia Nazionale di Santa Cecilia in Rome, Riga Kammermusika, St Petersburg Festival Orchestra and National Orchestra of South Africa, and the Tasmanian Symphony, West Australian Symphony and Melbourne Symphony orchestras.

Craig Ogden’s recordings for Virgin/EMI, Chandos, Nimbus, Hyperion, Naxos and Sony have received great praise. His début solo CD of 20th-century classics by British composers was nominated for a Grammy Award.

CRAIG OGDENGUITAR

His release, A Quiet Thing, with countertenor David Daniels received universal acclaim, as did the duo’s subsequent USA recital tour. As well as The Guitarist, Craig Ogden has released seven CDs on the Chandos label. His recording of all three Rodrigo guitar concertos with the BBC Philharmonic was selected as the ‘One To Own’ in Classic FM magazine. His CD, Music from the Novels of Louis de Bernières, reached No. 10 in the UK classical chart and was The Telegraph’s ‘CD of the Week’. Selling over 10,000 discs in three months, it is Chandos Records’ fastest-ever selling CD and Craig now performs regularly with Louis de Bernières in ‘words and music’ recitals. Recent solo recordings include a CD of music by British composer Paul Coles, music by the Irish composer Greg Caffrey (First Construction in Nylon), Souvenirs with mandolinist Alison Stephens, and a recital of Spanish songs with soprano Patricia Rozario.

Craig Ogden regularly appears as soloist and chamber musician at London venues including the Purcell Room, Queen Elizabeth Hall, Wigmore Hall and the Barbican. He has also performed at most of the major UK festivals and is the most sought-after guitarist for chamber music in the UK, performing with the Brodsky Quartet, London Tango Quintet and tenors Mark Padmore and Ian Bostridge, among others. Craig also frequently records for film soundtracks and was featured in the 1999 hit, Notting Hill.

Ogden’s world première performances include a concerto written for him by Gerard Brophy with the BBC Philharmonic, Sun Trap for solo guitar by Jonathan Cole commissioned by the Britten Festival, The Hinchinbrook Riffs for solo guitar and digital delay by Nigel Westlake, and an Alec Roth song cycle for the Chester Festival. In July 2008 he premièred a new solo work by Mark-Anthony Turnage at the Cheltenham Festival, which was broadcast on BBC Radio 3.

In his first foray into presenting, Ogden travelled to Spain with writer Louis de Bernières to make a programme on Segovia for BBC Radio 3, which was first broadcast in February 2008. This year Ogden has also presented a series of interviews with artists including John Williams for ABC Classic FM radio in Australia.

Craig Ogden is Principal Lecturer in Guitar at the Royal Northern College of Music in Manchester and Visiting Lecturer at London’s Royal College of Music.


pROGRAMME NOTES

‘A magical art that evokes feelings, people and places’. Manuel de Falla’s 1916 description of ‘the new music’ defines a whole philosophy of composition: the belief that music should conjure up visual imagery, evoke past times, and tell stories. For Spanish composers, this meant music rooted in the soil of Spain herself.

Antonio José’s unperformed opera The Muleteer is based on an episode from Don Quixote, and is flavoured with folksongs from his native Burgos. Joaquín Rodrigo’s masterly guitar concerto conjures up the gardens of the Royal Palace at Aranjuez in their 18th-century heyday. The past is also evoked in Falla’s ballet The Three-Cornered Hat: a farcical tale

of lust, envy and fidelity, suffused with the musical mannerisms of its early 19th-century setting.

When Falla tried to trace the origins of this ‘magical art’, it was to Russia that he turned, and especially to Modest Mussorgsky, whose works all have a vivid extramusical dimension. This is especially true of Pictures at an Exhibition, which takes its inspiration from works by the Russian architect and painter Victor Hartmann. Mussorgsky does not merely recreate these images; rather, he transcends them, liberating human characters and physical movement from the static canvases.

Speedread

When Antonio José Martínez Palacios was shot during the first days of the Spanish Civil War, aged just 33, the pianist Arthur Rubinstein mourned the loss of ‘a new Falla’. Antonio José’s music was lost to view for many years, but its current rediscovery reveals a composer of originality and talent. Like Falla, he was rooted in his native territory – in his case the imposing northern city of Burgos. In his 20s he made a study of the traditional music of the province, publishing a collection of folksongs that won the Premio Nacional de Musica in 1932.

Around the same time, he was working on his only opera, El mozo de mulas (‘The Muleteer’), based on an incidental episode from Don Quixote: the story of Don Luis, a nobleman’s son, who disguises himself as a muleteer so that he may follow his sweetheart Clara and her father, a judge, on their travels – an expedition

that brings all three into the company of the demented knight and his squire. The two movements to be heard this evening were premièred by the Orquesta Sinfonica de Madrid in November 1934; the full opera, alas, remains unperformed.

The Prelude presents four principal themes from the work. An unaccompanied oboe melody (associated with Clara) leads to a Tristan-like chromatic motif on the strings, representing hopeful love; these two themes recur at the end of the movement. The central portion of the Prelude combines Clara’s love theme (on the flute) with the more thickly-scored love theme of Don Luis. The Popular Dance, taken from the second act of the opera, is based on a genuine round dance from the province of Burgos: it is distinguished by irregular metres and spectacular orchestration.

SUITE FROM ‘ThE MULETEER’

PreludePopular Dance

AntonioJOSÉ

1902–36


pROGRAMME NOTES

CONCIERTO DE ARANJUEZ

CRAIG OGDEN guitar

Allegro con spirito Adagio Allegro gentile

JoaquínRODRIGO

1901–99

Along with Antonio José and artists in other media such as Dalí, Lorca and Buñuel, the Valencian composer Joaquín Rodrigo is often associated with the ‘Generacion del ’27’, a loose-knit group of artists who came to prominence around that year, with similar aspirations to renew Spanish art by aiming for technical perfection. By 1939 many of them were dead, victims of the Nationalists in the Civil War. But chance found Rodrigo abroad at the outbreak of war, where he chose to remain. When he returned to Spain in 1939, he carried with him the score of the Concierto de Aranjuez for guitar and orchestra: the work that was to bring him worldwide recognition.

Rodrigo intended his concerto to evoke life at the Royal Palace of Aranjuez under the Bourbon kings Charles IV and Ferdinand VII. The Palace, surrounded by verdant formal gardens, is clearly modelled on Versailles – but the imagery that Rodrigo had in mind was intensely Spanish: he spoke of ‘majas’ and bullfights. The musical language breathes an elegant neoclassical atmosphere: it is completely tonal and its structure is carefully poised. The first movement is pure filigree: scraps of melody are thrown to the wind and allowed to flutter freely. The third movement is a set of variations on what could well have been a courtly dance of the 18th century. But it is the second movement that forms the apex of the work: a beautifully tragic melody, heard first on the cor anglais and then developed rhapsodically, before reaching (via the work’s only real cadenza) a final statement of breathtaking emotional intensity.

The concerto places truly virtuosic demands on the soloist as both technician and interpreter: in addition to the challenges set by such things as rapid scales (extremely difficult on the guitar), the music demands great melodic sensitivity. This would be difficult to balance against a full-size orchestra were it not

for Rodrigo’s remarkably transparent scoring. (The composer was not averse, however, to having the soloist amplified electronically in large concert halls.) Rodrigo wrote several more concertos for various instruments, all of them fine works with equally evocative titles, but he was never to repeat the success of the Concierto de Aranjuez.


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

SUITES NOS. 1 AND 2 FROM ‘ThE ThREE-CORNERED hAT’Manuel deFALLA

1876–1946

Suite No. 1: Scenes and DancesIntroductionAfternoon Dance of the Miller’s Wife: FandangoThe CorregidorThe Grapes

Suite No. 2: Three DancesThe Neighbours’ Dance: SeguidillasThe Miller’s Dance: FarrucaFinal Dance: Jota

After his apprenticeship in Paris, Manuel de Falla returned to Spain in 1914 and embarked on the most prolific stage of his career. The culmination of this period of intense work was the première in London of his ballet The Three-Cornered Hat, given in July 1919 by the Ballets Russes of Serge Diaghilev, who had commissioned the work when the troupe was based in neutral Spain during the war. The ballet was rapturously received, and was to become a keystone of Diaghilev’s post-war repertoire.

The two suites that Falla extracted from the ballet preserve the vast majority of the music: the only omissions are the first few pages of the first act, and a single dance and some connecting material from the second. The ballet is based on a novella by the Granadine author Pedro Antonio de Alarcon (1833–91), set in the early years of the 19th century. It tells of a miller and his beautiful wife, who is coveted by an elderly local magistrate (whose symbol of office gives the work its title). The magistrate’s various attempts to

bring about an assignation with the miller’s wife have farcical results, and the ballet ends with a spectacular ensemble dance (a jota) in which the villagers ridicule the magistrate by tossing him in a blanket. The music narrates the story in intricate bar-by-bar detail, complete with leitmotifs and onomatopoeic orchestral effects.

Though there are traces (in the ‘Miller’s Dance’, for instance) of the arabesque and highly rhythmical Andalusian style recognised as Spanish the world over, The Three-Cornered Hat marks the first step in Falla’s adoption of a more neoclassical style: the language is unremittingly tonal, and the rhythms often evoke the formal dances of the early 19th century. In this respect he was ahead of his time. Diaghilev, much impressed by the work, proposed a new project to Falla: a ballet based on themes of Pergolesi. We can only speculate how different the history of music might have been had he accepted; as it is, he had other fish to fry, and the commission for Pulcinella went to Stravinsky.


PromenadeGnomusPromenadeThe Old CastlePromenadeTuileriesBydłoPromenade –Ballet of the Unhatched ChicksSamuel Goldenberg and SchmuyleThe Market Place at LimogesCatacombæ (Sepulcrum Romanum) –Cum mortuis in lingua mortuaThe Hut on Hen’s LegsThe Great Gate of Kiev

Modest Mussorgsky had much in common with the architect and painter Victor Hartmann (1834–73): both sought to incorporate strongly Russian themes and motifs into their works; both also brought together in close harmony the curiously complementary worlds of realism and fantasy. Mussorgsky wrote his piano suite Pictures at an Exhibition in a matter of days in 1874, after attending a memorial exhibition of 400 of his friend’s designs. Eleven such paintings are represented in the suite; sadly, five of these designs are now lost.

Pictures at an Exhibition is Mussorgsky’s only major instrumental work, but in its own way it is almost as theatrical as Boris Godunov or Khovanshchina. Each movement injects life into Hartmann’s paintings; thus, a costume design for an unhatched chick – essentially a dancer wearing an egg – becomes in Mussorgsky’s hands a real-life bird that waddles, pecks and clucks. Similarly, the two Jews, Samuel Goldenberg and Schmuyle – whom Hartmann painted in separate pictures – are brought together and made to converse. Even Mussorgsky himself gets involved in the action,

for the recurring ‘Promenade’ theme (which initially depicts his contemplative strolling from one exhibit to another) gradually insinuates itself into the pictures themselves: thus it seems to be Mussorgsky himself who ascends from the Paris Catacombs at the end of the eighth picture, rather than Hartmannn and two companions as in the original painting.

The present popularity of the work owes much to Maurice Ravel’s extraordinarily effective orchestration, commissioned by Sergei Koussevitzky in 1920. In fact, Mussorgsky’s writing for the piano is at times so unnatural that it is easy to forget which version came first: the Catacombs movement, for instance, has hairpin crescendi written under held chords! Mussorgsky had been one of Ravel’s favourite composers since the early 1900s, when the Frenchman and his friends used to meet at one another’s homes to play through Russian music. The imagery of Pictures would have been extremely attractive to this most childlike of French composers, in whose home a clock in the shape of a witch’s hut on a chicken’s legs would not have been out of place.

Programme notes © Chris Collins

ModestMUSSORGSKY 1839–81

ORChESTRATED BY MAURICE RAVEL (1875–1937)

pICTURES AT AN ExhIBITION

pROGRAMME NOTES


Wrap Music!Virtual Christmas gifts from the London philharmonic Orchestra

Virtual gifts are a lighthearted way to share the power and beauty of music this Christmas whilst supporting the charitable objectives of the London Philharmonic Orchestra. Whether you are helping us to produce world-class concerts or providing an Inner London child with a first experience of live music, your gift will have an impact long after the tinsel has come down.

Gifts of just £15 can support one of the iconic solo moments of the Orchestra’s 2012 season. Alternatively you can help the Orchestra to make a difference by taking music into schools throughout South London.

For full details on how to give the gift of music this Christmas visit lpo.org.uk/virtualgifts or call Elisenda Ayats on 020 7840 4225.

We will send a card direct to the recipient, or to you if you prefer, to let them know what their gift is supporting. 1. Take a Bow £15 Your opportunity to support a sensational solo from a London Philharmonic Orchestra musician during one of next spring’s concerts. Each gift includes a card and a 10% discount voucher for London Philharmonic Orchestra concert tickets.

• Violin solo from Elgar Symphony No. 1 (Saturday 24 March 2012)• Cello tune from Dvořák Symphony No. 8 (Wednesday 8 February 2012)• Flute solo from Dvořák Symphony No. 8 (Wednesday 8 February 2012) • Oboe solo from Brahms Violin Concerto (Wednesday 22 February 2012)• Clarinet solo from Tchaikovsky Symphony No. 4 (Saturday 28 April 2012)• Horn solo from Brahms Symphony No. 1 (Wednesday 18 April 2012)• Opening fanfare from Tchaikovsky Symphony No. 4 (Saturday 28 April 2012)• The biggest bang in the world première of Kalevi Aho’s Percussion Concerto (Wednesday 18 April 2012)

2. Adopt A Class £30 Your gift will pay for an LPO player to spend an hour with disabled children in a London school and help them to overcome their disabilities through music. Gift includes a card and a 10% discount voucher for London Philharmonic Orchestra concert tickets.

3. Roll Call £40 Help us to liven up an assembly in one of South London’s schools by sending in a group of LPO musicians. Gift includes a card and a 10% discount voucher for London Philharmonic Orchestra concert tickets.

4. Centre Stage £50 Your gift will help us to offer the opportunity for a South London school child to perform on the Royal Festival Hall stage as part of our Next Generation Prokofiev project in the New Year. Gift includes an invitation to see the culmination of our Prokofiev schools composition project on 1 February 2012 and a 10% discount voucher for London Philharmonic Orchestra concert tickets.

You can also buy a year’s membership of London Philharmonic Orchestra Friends or LPO Contemporaries. For full details visit lpo.org.uk/gifts In order to guarantee delivery by Christmas please order by Monday 19 December 2011. Virtual gifts are intended as a way to show your support for the Orchestra’s charitable objectives this Christmas. The London Philharmonic Orchestra reserves the right to vary concert programmes if necessary. The London Philharmonic Orchestra is a registered charity No 238045.


London PhiLharmonic orchestra

annuaL aPPeaL 2011/12in aid of the community Programme

Despite living close to Royal Festival Hall,

many people in South London have never visited

the venue or heard an orchestra perform. We are

committed to our work in the community to ensure

that as many people as possible can access and

enjoy music of the highest quality. There are

three dynamic projects within the Community

Programme, providing inspirational musical

opportunities for children and their families.

Animate Orchestra is a young person’s ‘orchestra for the 21st century’, offering young

people in Lewisham and Greenwich a creative pathway for them to continue their playing

as they make the transition from primary to secondary education – a time when many

young musicians give up. Young people make music side by side with London Philharmonic

Orchestra musicians.

The Band is the Orchestra’s fusion ensemble for young people in South London, at

which they improvise, create, and rehearse their own music – from classical to jazz,

hip hop, rock, and more. Members have inspirational contact with London Philharmonic

Orchestra players, in sessions led by some of the UK’s leading tutors.

‘When I first came to The Band I was amazed how everyone worked so well with each

other … and I thought this is a place where I can really fit in, make music and share

ideas.’ Member of The Band

FUNharmonics are our Family Concerts – an interactive introduction for all the

family to music and the orchestra, presented by Chris Jarvis of CBeebies. Free foyer

activities before and after the concert include Have-a-Go sessions where children can

try out a range of orchestral instruments with our musicians; and the Human Orchestra

– fun rhythmic sessions where music is performed using body percussion, singing,

drumming, and clapping.

Your Support

In order to undertake this essential work we depend entirely on donations from

charitable sources each year, and we are asking you to help us to support this work

in the communities surrounding the South Bank. If you do feel able to contribute

to this year’s Appeal we would be extremely grateful. Gifts of any size make a real

difference; to donate please contact Elisenda Ayats on 020 7840 4225 or

[email protected].

For more information, and to donate online, please visit lpo.org.uk/support_us/appeal

And now, for the first time, you can also donate up to £10 to the Orchestra via text

message – see page 2 for more details.


Thomas Beecham GroupThe Tsukanov Family Anonymous

The Sharp FamilyJulian & Gill Simmonds

Garf & Gill CollinsAndrew DavenportDavid & Victoria Graham FullerRichard Karl GoeltzJohn & Angela KesslerMr & Mrs MakharinskyGeoff & Meg MannCaroline, Jamie and Zander SharpEric Tomsett

Mrs Sonja Drexler Guy & Utti Whittaker

principal BenefactorsMark & Elizabeth AdamsJane AttiasLady Jane BerrillDesmond & Ruth CecilMr John H CookMr Charles Dumas

David EllenCommander Vincent EvansMr & Mrs Jeffrey HerrmannPeter MacDonald EggersMr & Mrs David MalpasAndrew T MillsMr Maxwell MorrisonMr Michael PosenMr & Mrs Thierry SciardMr John Soderquist & Mr Costas MichaelidesMr & Mrs G SteinMr & Mrs John C TuckerMr & Mrs John & Susi UnderwoodHoward & Sheelagh WatsonMr Laurie Watt Mr Anthony Yolland

BenefactorsMrs A BeareDr & Mrs Alan Carrington CBE FRSMr & Mrs Stewart CohenMr Alistair CorbettMr David EdgecombeMr Richard FernyhoughKen Follett

Pauline & Peter HallidayMichael & Christine HenryMr Glenn HurstfieldMr R K JehaMr Gerald LevinSheila Ashley LewisWg. Cdr. & Mrs M T Liddiard OBE JP RAFMr Frank LimPaul & Brigitta LockMr Brian MarshJohn MontgomeryEdmund PirouetMr Peter TausigMrs Kazue TurnerLady Marina VaizeyMr D WhitelockBill Yoe

hon. BenefactorElliott Bernerd

hon. Life MembersKenneth Goode Pehr G GyllenhammarEdmund Pirouet Mrs Jackie Rosenfeld OBE

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

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

Trusts and FoundationsArts and BusinessAllianz Cultural Foundation Angus Allnatt Charitable FoundationThe Boltini TrustBritten-Pears FoundationThe Candide Charitable TrustThe Coutts Charitable TrustThe Delius TrustDunard FundThe Equitable Charitable TrustThe Eranda FoundationThe Fenton Arts TrustThe Foyle FoundationThe Jeniffer and Jonathan Harris Charitable TrustHattori Foundation for Music and the ArtsCapital Radio’s Help a London ChildThe Hobson CharityThe Kirby Laing FoundationThe Leverhulme TrustLord and Lady Lurgan TrustMaurice Marks Charitable TrustMarsh Christian Trust

The Mercers’ CompanyAdam Mickiewicz InstituteThe Peter Minet TrustPaul Morgan Charitable TrustMaxwell Morrison Charitable TrustMusicians Benevolent FundNewcomen Collett Foundation The Serge Prokofiev FoundationSerge Rachmaninoff FoundationThe Reed FoundationThe Seary Charitable TrustThe Samuel Sebba Charitable TrustThe David Solomons Charitable TrustThe Steel Charitable TrustThe Stansfield TrustThe Bernard Sunley Charitable FoundationThe Swan TrustJohn Thaw FoundationThe Thistle TrustThe Underwood TrustGarfield Weston FoundationYouth Music

and others who wish to remain anonymous

Corporate MembersAppleyard & Trew LLPAREVA UKBritish American BusinessCharles RussellDestination Québec – UKLazardLeventis OverseasMan Group plc

Corporate DonorLombard Street Research

In-kind SponsorsGoogle IncHeinekenThe Langham LondonLindt & Sprüngli LtdSela / Tilley’s SweetsVilla Maria


Recent recordings on the London philharmonic Orchestra label

VLADIMIR JUROWSKI CONDUCTS hONEGGER’S Pastorale d’été, SYMphONY NO. 4 AND Une Cantate de noël ‘[The Fourth Symphony] is full of charm and tactile invention, vividly realised in this live recording.’ The Sunday Times, 30 October 2011

Supported by the Adam Mickiewicz Institute as part of the Polska Music grant programme

JUKKA-pEKKA SARASTE CONDUCTS SIBELIUS’S SYMphONY NO. 5 AND Pohjola’s daUghter, AND LUTOSłAWSKI’S CONCERTO FOR ORChESTRA

‘This has to be one of the best recordings around of Sibelius’s Fifth. And Lutosławski’s Concerto can never have been more brilliantly played.’Classic FM magazine, December 2011

LPO-0057

LPO-0058

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Full year CD subscription: £79.9910 CDs (worth at least £100)

Both subscriptions include exclusive pre-release mailing

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Buy online lpo.org.uk/giftsOr call the London Philharmonic Orchestra box office: 020 7840 4242

Treat someone to a London Philharmonic Orchestra CD subscription and they will receive all the new releases on the LPO Label, mailed before the CDs are available in the shops.


Next London philharmonic Orchestra concerts at Royal Festival hall

Wednesday 30 November 2011 | 7:30pm

Matthias pintscher towards OsirisBeethoven Piano Concerto No. 5 (Emperor)Bruckner Symphony No. 1 (Linz edition)

Vladimir Jurowski conductorLars Vogt piano

Saturday 3 December 2011 | 7:30pm

Julian Anderson Fantasias*Mozart Violin Concerto No. 5Tchaikovsky Manfred Symphony

Vladimir Jurowski conductorJanine Jansen violin

* This performance is supported by the Boltini Trust.

6.15–6.45pm FREE pre-concert event Royal Festival hall Composer in Residence Julian Anderson looks in detail at his work Fantasias.

Wednesday 14 December 2011 | 7:30pm

Wagner Overture, TannhäuserR Strauss Four Last SongsBeethoven Symphony No. 7

Christoph Eschenbach conductorRenée Fleming soprano

Concert generously supported by the Sharp Family.

Vladimir Jurowski and Lars Vogt

Christoph Eschenbach and Renée Fleming

13 January — 1 February2012

Get closer to Sergei Prokofiev

A festival curated by Vladimir Jurowski

The world première of an oratorio version of Prokofiev’s Ivan the TerribleProkofiev’s incidental music to Egyptian Nights with excerpts from texts by Bernard Shaw, Pushkin and Shakespeare read by Simon CallowExcerpts from ballets Cinderella and Chout (The Buffoon)Free classical club night with Gabriel Prokofiev and Rambert Dance Company

lpo.org.uk/prokofiev

Get closer to one of themost misunderstood menin 20th-century music

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Festival highlights includeOpening concertsFull festival details at lpo.org.uk/prokofiev

Friday 13 January 2012 | 7.30pm JTI FRIDAY SERIES

prokofiev Suite, Lieutenant Kijé prokofiev Cello Concerto, Op. 58 prokofiev Symphony No. 7

Alexander Vedernikov conductor Danjulo Ishizaka cello

6.00–6.45pm FREE pre-concert event Royal Festival hall Professor Alexander Ivashkin explores the importance of the cello to Prokofiev.

Wednesday 18 January 2012 | 7.30pm

prokofiev Symphonic Song, Op. 57 prokofiev Piano Concerto No. 5 prokofiev Symphony No. 6

Vladimir Jurowski conductor Steven Osborne piano 6.00–6.45pm FREE pre-concert performance Royal Festival hall Prokofiev’s String Quartet No. 1 and Quintet, performed by musicians from the Royal College of Music.

Booking detailsTickets £9–£39 | premium seats £65 14 December: £12–£48 | premium seats £75

London philharmonic Orchestra Box Office 020 7840 4242 Monday to Friday 10.00am–5.00pm lpo.org.uk (no transaction fee)

Southbank Centre Box Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk (transaction fees apply)

In person at Royal Festival hall Box Office Daily 10.00am–8.00pm (no transaction fee)

ADMINISTRATION


FSC_57678 LPO 14 January 2011 15/09/2011 12:30 Page 1

Board of Directors

Martin Höhmann ChairStewart McIlwham Vice-ChairSue BohlingLord Currie*Jonathan Dawson*Gareth NewmanGeorge PenistonSir Bernard Rix*Kevin RundellSir Philip Thomas*Timothy Walker AM†*Non-Executive Directors

The London philharmonic Trust

Victoria Sharp ChairDesmond Cecil CMGJonathan Harris CBE FRICSDr Catherine C. HøgelMartin HöhmannAngela KesslerClive Marks OBE FCAJulian SimmondsTimothy Walker AM†Laurence Watt

American Friends of the London philharmonic Orchestra, Inc.

We are very grateful to the Board of the American Friends of the London Philharmonic Orchestra for its support of the Orchestra’s activities in the USA.

professional Services

Charles RussellSolicitors

Crowe Clark Whitehill LLPAuditors

Dr Louise MillerHonorary Doctor

General Administration

Timothy Walker AM† Chief Executive and Artistic Director

Alison AtkinsonDigital Projects Manager

Finance

David BurkeGeneral Manager andFinance Director

David GreensladeFinance and IT Manager

Concert Management

Roanna GibsonConcerts Director

Ruth SansomArtistic Administrator

Graham WoodConcerts, Recordings andGlyndebourne Manager

Alison JonesConcerts Co-ordinator

Jenny ChadwickTours and Engagements Manager

Jo OrrPA to the Executive / Concerts Assistant

Matthew FreemanRecordings Consultant

Education & Community

Patrick BaileyEducation and Community Director

Anne FindlayEducation Manager

Caz ValeCommunity and Young Talent Manager

Richard MallettEducation and Community Producer

Orchestra personnel

Andrew CheneryOrchestra Personnel Manager

Sarah ThomasLibrarian

Michael PattisonStage Manager

Julia BoonAssistant Orchestra Personnel Manager

Ken Graham TruckingInstrument Transportation(Tel: 01737 373305)

Development

Nick JackmanDevelopment Director

Harriet MesherCharitable Giving Manager

Alexandra RowlandsCorporate Relations Manager

Melissa Van EmdenEvents Manager

Laura LuckhurstCorporate Relations and Events Officer

Elisenda AyatsDevelopment and Finance Officer

Marketing

Kath TroutMarketing Director

Ellie DragonettiMarketing Manager

Rachel FryerPublications Manager

Helen BoddyMarketing Co-ordinator

Samantha KendallBox Office Manager(Tel: 020 7840 4242)

Lucy Martin Intern

Valerie BarberPress Consultant(Tel: 020 7586 8560)

Archives

Philip StuartDiscographer

Gillian PoleRecordings Archive

London philharmonic Orchestra89 Albert Embankment London SE1 7TPTel: 020 7840 4200Fax: 020 7840 4201Box Office: 020 7840 4242lpo.org.uk

The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Photograph of Rodrigo © Peter Andersen.

Front cover photograph © Benjamin Ealovega.

Printed by Cantate. †Supported by Macquarie Group

Documents

LPO Programme book 25 Nov 11