LPO Programme Notes - 22 September 2010

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

MAHLER ANNIVERSARYWednesday 22 September 2010 | 7.30 pm

VLADIMIR JUROWSKIconductor

PETRA LANGmezzo soprano

LONDON PHILHARMONIC CHOIR

TRINITY BOYS CHOIR

ZEMLINSKYSix Maeterlinck Songs, Op. 13 (20’)

INTERVAL

MAHLERSymphony No. 3 (92’)

PROGRAMME £3

CONTENTS

2 List of Players3 Orchestra History4 Leader5 Vladimir Jurowski6 Petra Lang7 London Philharmonic

Choir8 Trinity Boys Choir /

Southbank Centre9 Programme Notes16 Mahler Recordings17 Supporters18 Philharmonic News19 Administration20 Future Concerts

The timings shown are not preciseand are given only as a guide.

Principal Conductor VLADIMIR JUROWSKIPrincipal Guest Conductor YANNICK NÉZET-SÉGUINLeader PIETER SCHOEMANComposer in Residence JULIAN ANDERSONPatron HRH THE DUKE OF KENT KGChief Executive and Artistic Director TIMOTHY WALKER AM†

† supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

55587 LPO 22 September 10_55587 LPO 22 September 10 15/09/2010 12:02 Page 1

2 | London Philharmonic Orchestra

LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINSPieter Schoeman* LeaderVesselin Gellev Sub-LeaderJulia RumleyChair supported byMrs Steven Ward

Katalin VarnagyCatherine CraigThomas EisnerTina GruenbergMartin HöhmannChair supported byRichard Karl Goeltz

Geoffrey LynnRobert PoolFlorence SchoemanSarah StreatfeildYang ZhangRebecca ShorrockPeter NallToby Tramaseur

SECOND VIOLINSClare Duckworth PrincipalChair supported by Richard and Victoria Sharp

Joseph MaherKate BirchallChair supported by David and Victoria Graham Fuller

Nancy ElanFiona HighamMarie-Anne MairesseAshley StevensDean WilliamsonSioni WilliamsHeather BadkeAlison StrangePeter GrahamStephen StewartMila MustakovaSheila LawAnna Croad

VIOLASAlexander Zemtsov* PrincipalRobert DuncanKatharine LeekSusanne MartensBenedetto PollaniEmmanuella Reiter-BootimanLaura VallejoDavid CornfordAlistair ScahillIsabel Pereira

Sarah MalcolmMiranda DavisClaudio CavallettiAnthony ByrneChair supported byJohn and Angela Kessler

CELLOSKristina Blaumane PrincipalChair supported bySimon Yates and Kevin Roon

Susanne Beer Co-PrincipalFrancis BucknallLaura DonoghueSantiago Sabino Carvalho+

Jonathan AylingChair supported by Caroline,Jamie and Zander Sharp

Gregory WalmsleySue SutherleySusanna RiddellSibylle HentschelTom RoffPavlos Carvalho

DOUBLE BASSESKevin Rundell* PrincipalLaurence LovelleGeorge PenistonRichard LewisRoger LinleyJoe MelvinHelen RowlandsLouis GarsonTom WalleyCatherine Ricketts

FLUTESJaime Martin* PrincipalSusan Thomas*Marta SantamariaStewart McIlwham*

PICCOLOSStewart McIlwham* PrincipalMarta Santamaria

OBOESIan Hardwick PrincipalAngela TennickOwen DennisSue Bohling

COR ANGLAISSue Bohling PrincipalChair supported byJulian and Gill Simmonds

CLARINETSRobert Hill* PrincipalEmily SutcliffeKatie LockhartPaul Richards

E FLAT CLARINETSNicholas Carpenter PrincipalKatie Lockhart

BASS CLARINETPaul Richards Principal

BASSOONSGareth Newman* PrincipalClare WebsterSusanna DiasSimon Estell

CONTRA BASSOONSimon Estell Principal

HORNSJohn Ryan PrincipalAlec Frank-Gemmill GuestPrincipalMartin HobbsGareth MollisonMark VinesMax GarrardJonathan BarrettAnthony ChidellAdrian Uren

TRUMPETSPaul Beniston* PrincipalAnne McAneney*Chair supported byGeoff and Meg Mann

Nicholas Betts Co-PrincipalDaniel NewellChair supported byMrs Steven Ward

Tom RainerHuw Morgan

OFFSTAGE POST-HORNPaul Beniston* Principal

TROMBONESMark Templeton* PrincipalDavid WhitehouseBecky Smith

BASS TROMBONESLyndon Meredith PrincipalChristian Jones

TUBALee Tsarmaklis Principal

TIMPANISimon Carrington* PrincipalAndrew Barclay* Co-PrincipalChair supported byAndrew Davenport

PERCUSSIONRachel Gledhill PrincipalKeith Millar Jeremy CornesSam WaltonAlex NealGillian McDonagh

OFFSTAGE PERCUSSIONIgnacio MolinsAdrian SpillettChristopher Guy

HARPSRachel Masters* PrincipalHelen Sharp

PIANOCatherine Edwards

HARMONIUMBernard Robertson

* Holds a professorialappointment in London

+ Chevalier of the Brazilian Order of Rio Branco

ASSISTANT CONDUCTOREduardo Portal


London Philharmonic Orchestra | 3


Seventy-eight years after Sir Thomas Beecham foundedthe London Philharmonic Orchestra, it is recognisedtoday as one of the finest orchestras on the internationalstage. Following Beecham’s influential founding tenurethe Orchestra’s Principal Conductorship has been passedfrom one illustrious musician to another, amongst themSir Adrian Boult, Bernard Haitink, Sir Georg Solti, KlausTennstedt and Kurt Masur. This impressive traditioncontinued in September 2007 when Vladimir Jurowskibecame the Orchestra’s Principal Conductor, and in afurther exciting move, the Orchestra appointed YannickNézet-Séguin, its new Principal Guest Conductor fromSeptember 2008.

The London Philharmonic Orchestra has been performingat Southbank Centre’s Royal Festival Hall since it openedin 1951, becoming Resident Orchestra in 1992. It playsthere around 40 times each season with many of theworld’s most sought after conductors and soloists.Concert highlights in 2010/11 include an exploration ofMahler’s symphonies and complete song cycles duringthe composer’s anniversary season; the premièreperformances of works by Matteo D’Amico, MagnusLindberg and Brett Dean; a rare opportunity to hearRossini’s opera Aureliano in Palmira in collaboration withlong term partner Opera Rara; and works by theOrchestra’s new Composer in Residence, Julian Anderson.

In addition to its London season and a series of concertsat Wigmore Hall, the Orchestra has flourishing

residencies in Brighton and Eastbourne, and performsregularly around the UK. It is unique in combining theseconcert activities with esteemed opera performanceseach summer at Glyndebourne Festival Opera where ithas been the Resident Symphony Orchestra since 1964.

The London Philharmonic Orchestra performs toenthusiastic audiences all round the world. In 1956 itbecame the first British orchestra to appear in SovietRussia and in 1973 made the first ever visit to China by aWestern orchestra. Touring continues to form asignificant part of the Orchestra’s schedule and issupported by Aviva, the International Touring Partner ofthe London Philharmonic Orchestra. Tours in 2010/11include visits to Finland, Germany, South Korea, France,Belgium and Luxembourg.

Having long been embraced by the recording,broadcasting and film industries, the LondonPhilharmonic Orchestra broadcasts regularly on domesticand international television and radio. It also works withthe Hollywood and UK film industries, recordingsoundtracks for blockbuster motion pictures includingthe Oscar-winning score for The Lord of the Rings trilogyand scores for Lawrence of Arabia, The Mission,Philadelphia and East is East.

The London Philharmonic Orchestra made its firstrecordings on 10 October 1932, just three days after itsfirst public performance. It has recorded and broadcast

Patrick Harrison




regularly ever since, and in 2005 established its own record label. The recordings on its own label are takenmainly from live concerts given with distinguishedconductors over the years including the Orchestra’sPrincipal Conductors from Beecham and Boult, throughHaitink, Solti and Tennstedt, to Masur and Jurowski.

Recent additions to the catalogue have includedacclaimed releases of Elgar’s Symphony No. 1 and SeaPictures with Vernon Handley and Janet Baker; Mahler’sSymphony No. 2 conducted by Klaus Tennstedt; Brahms’sSymphonies Nos 1 and 2 conducted by Vladimir Jurowski;and Dvořák’s Requiem under the baton of Neeme Järvi.The Orchestra’s own-label CDs are also widely availableto download. Visit www.lpo.org.uk/shop for the latestreleases.

The Orchestra reaches thousands of Londoners throughits rich programme of community and school-basedactivity in Lambeth, Lewisham and Southwark, whichincludes the offshoot ensembles Renga and The Band, itsFoyle Future Firsts apprenticeship scheme foroutstanding young instrumentalists, and regular familyand schools concerts.

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

There are many ways to experience and stay in touchwith the Orchestra’s activities: visit www.lpo.org.uk,subscribe to our podcast series, download our iPhoneapplication and join us on Facebook and Twitter.

www.lpo.org.uk

In 2002, Pieter Schoemanjoined the LondonPhilharmonic Orchestra asCo-Leader. He was appointed Leader in 2008.

Born in South Africa, he made his solo debut with theCape Town Symphony Orchestra at the age of ten. Hestudied with Jack de Wet in South Africa, winningnumerous competitions, including the 1984 World YouthConcerto Competition in America. In 1987 he was offeredthe Heifetz Chair of Music scholarship to study withEduard Schmieder in Los Angeles and in 1991 his talentwas spotted by Pinchas Zukerman who recommendedthat he move to New York to study with SylviaRosenberg. In 1994 he became her teaching assistant atIndiana University, Bloomington.

Pieter Schoeman has performed as a soloist and recitalistthroughout the world in such famous halls as theConcertgebouw in Amsterdam, Moscow’s RachmaninovHall, Capella Hall in St Petersburg, Staatsbibliothek inBerlin, Hollywood Bowl in Los Angeles and QueenElizabeth Hall in London. As a chamber musician heregularly performs at London’s prestigious Wigmore Hall.

As a soloist with the London Philharmonic Orchestra, hehas performed Arvo Pärt’s Double Concerto with BorisGarlitsky and Benjamin Britten’s Double Concerto withAlexander Zemtsov, which was recorded and releasedon the Orchestra’s own record label to great criticalacclaim. This season he will perform the Brahms DoubleConcerto with Kristina Blaumane.

In 1995 Pieter Schoeman became Co-Leader of theOrchestre Philharmonique de Nice. Since then he hasperformed frequently as Guest Leader with thesymphony orchestras of Barcelona, Bordeaux, Lyon andBaltimore as well as the BBC Symphony Orchestra. Thisseason he has been invited to lead the RotterdamPhilharmonic Orchestra on several occasions.

Pieter Schoeman has recorded numerous violin soloswith the London Philharmonic Orchestra for Chandos,Opera Rara, Naxos, X5, the BBC and for American filmand television. He led the Orchestra in its soundtrackrecordings for The Lord of the Rings trilogy. He teaches atTrinity College of Music.

PIETERSCHOEMANLEADER

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‘The LPO do glowering colours very well,and they needed the full palette as Jurowskidrove them, menacing and tight, throughMussorgsky’s phantasmagoria …’GEOFF BROWN, THE TIMES, 17 AUGUST 2010



VLADIMIR JUROWSKICONDUCTOR

Born in Moscow, the son of conductor Mikhail Jurowski,Vladimir Jurowski completed the first part of hismusical studies at the Music College of the MoscowConservatory. In 1990 he relocated with his family toGermany where he continued his studies in Dresdenand Berlin, studying conducting with Rolf Reuter andvocal coaching with Semion Skigin. In 1995 he made hisinternational debut at the Wexford Festival, where heconducted Rimsky-Korsakov’s May Night. The same yearsaw his brilliant debut at the Royal Opera House CoventGarden in Nabucco. In 1996 he joined the ensemble ofKomische Oper Berlin, becoming First Kapellmeister in1997 and continuing to work at the Komische Oper ona permanent basis until 2001.

Since 1997 Vladimir Jurowski has been a guest at someof the world’s leading musical institutions including theRoyal Opera House Covent Garden, Teatro La Fenice diVenezia, Opéra Bastille de Paris, Théâtre de la MonnaieBruxelles, Maggio Musicale Festival Florence, RossiniOpera Festival Pesaro, Edinburgh Festival, SemperoperDresden and Teatro Comunale di Bologna (where heserved as Principal Guest Conductor between 2000 and2003). In 1999 he made his debut at the MetropolitanOpera New York with Rigoletto.

In January 2001 Vladimir Jurowski took up the positionof Music Director of Glyndebourne Festival Opera andin 2003 was appointed Principal Guest Conductor ofthe London Philharmonic Orchestra, becoming theOrchestra’s Principal Conductor in September 2007. Healso holds the title of Principal Artist of the Orchestraof the Age of Enlightenment, and from 2005 to 2009served as Principal Guest Conductor of the RussianNational Orchestra with whom he will continue to workin the years ahead.

Vladimir Jurowski is a regular guest with many of theworld’s leading orchestras including the BerlinPhilharmonic, Oslo Philharmonic, Royal Concertgebouw,Bavarian Radio Symphony, Dresden Staatskapelle, LosAngeles Philharmonic and Philadelphia Orchestras aswell as the Gewandhausorchester Leipzig. Highlights ofthe 2010/11 season and beyond include his debutswith the Vienna Philharmonic, Cleveland, San FranciscoSymphony and Mahler Chamber Orchestras, and returnvisits to the Chicago Symphony, Chamber Orchestra ofEurope, Berlin Philharmonic, Royal Concertgebouw, StPetersburg Philharmonic and Philadelphia Orchestras.

His operatic engagements have included Jenůfa, TheQueen of Spades and Hänsel und Gretel at theMetropolitan Opera, Parsifal and Wozzeck at WelshNational Opera, War and Peace at the Opéra Nationalde Paris, Eugene Onegin at La Scala Milan, as well as DieZauberflöte, La Cenerentola, Otello, Macbeth, Falstaff,Tristan und Isolde, Don Giovanni, The Rake’s Progress andPeter Eötvös’ Love and Other Demons at GlyndebourneOpera. Future engagements include new productions ofDie Meistersinger and The Cunning Little Vixen atGlyndebourne, Die Frau ohne Schatten at theMetropolitan Opera, Ruslan and Ludmila at the BolshoiTheatre, and Iolanta at the Dresden Semperoper.

Jurowski’s discography includes the first ever recordingof Giya Kancheli’s cantata Exile for ECM (1994), L’Étoiledu Nord by Meyerbeer for Naxos-Marco Polo (1996) andWerther for BMG (1999) as well as live recordings ofworks by Rachmaninov, Turnage, Tchaikovsky, Britten,Brahms and Shostakovich on the London PhilharmonicOrchestra’s own label, and Prokofiev’s Betrothal in aMonastery on Glyndebourne Opera’s own label. He alsorecords for PentaTone with the Russian NationalOrchestra, with releases to date including Tchaikovsky’sSuite No. 3 and Stravinsky’s Divertimento from Le Baiserde la fée, Shostakovich’s Symphonies Nos 1 and 6,Prokofiev’s Symphony No. 5 and Tchaikovsky’s HamletIncidental Music. Glyndebourne have released DVDrecordings of his performances of La Cenerentola,Gianni Schicchi, Die Fledermaus and Rachmaninov’s TheMiserly Knight. Other recent DVD releases includeHänsel und Gretel from the Metropolitan Opera NewYork, and his first concert as the London PhilharmonicOrchestra’s Principal Conductor featuring works byWagner, Berg and Mahler (released by Medici Arts).

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PETRA LANGMEZZO SOPRANO

Petra Lang was born in Frankfurt and, after graduatingas a violinist, studied voice at the Akademie fürTonkunst in Darmstadt and in Mainz. Her voice teachertoday is Ingrid Bjoner. She attended the Opernstudio ofthe Bavarian State Opera in Munich and started hercareer in Dortmund and Braunschweig where she sangOctavian in Der Rosenkavalier, Marie in Wozzeck, Frickain Das Rheingold and Die Walküre, Waltraute inGötterdämmerung, Judith in Bluebeard’s Castle andBrangäne in Tristan und Isolde.

In 1997, Petra Lang had great success as Brangäne inNew York performing with the Opera Orchestra of NewYork under the baton of Eve Queler. Also in the role ofBrangäne she made her debut with Armin Jordanconducting in Geneva, with Silvio Varviso in Antwerp,with Semyon Bychkov in Turin and Dresden, withBernard Haitink in London, with Simon Rattle inAmsterdam, with Myung Whun Chung in Paris, withChristian Thielemann in Vienna and at the BayreuthFestival.

Highlights of her career so far have included the roles ofKundry in Parsifal with Simon Rattle in London, withAndrew Davis in Dresden, with Armin Jordan in Geneva,with Simone Young in Hamburg, with Marek Janowskiin Monte Carlo and with Ulf Schirmer in Leipzig;Cassandra in Berlioz’s Les Troyens with Sir Colin Davis inLondon and with Donald Runnicles at the EdinburghFestival; Judith in Bartok’s Bluebeard’s Castle withWolfgang Sawallisch in Philadelphia and New York,with Bernard Haitink in Brussels and London, and withIvan Fischer in Modena, Ferrara and at the Royal OperaHouse Covent Garden; Ortrud in Lohengrin with DonaldRunnicles at the Edinburgh Festival; and Sieglinde in DieWalküre with Jeffrey Tate in Cologne, Venice, Naples,

Berlin and Manchester, with Ivan Fischer in Brussels,Budapest and London and with Gerd Albrecht in Tokyo.

In 2002 Petra Lang won two Grammy Awards for herinterpretation of Cassandra as part of the LondonSymphony Orchestra’s live recording of Berlioz’s LesTroyens conducted by Sir Colin Davis. The album wonthe categories of Best Classical and Best OperaRecording of the Year. In May 2002, the recording alsowon two of the highly respected BRIT Awards in Londonmaking it one of the best selling recordings of the yearand went on to win the Preis der DeutschenSchallplatten Kritik and the Orphée d’or de l’Académiedu disque lyrique.

Petra Lang is also a very successful concert singer. Shehas performed with some of the most prestigiousorchestras in Europe and the US such as the BerlinPhilharmonic, Chicago Symphony, Dallas Symphony,Israel Philharmonic, London Philharmonic, MunichPhilharmonic, Philadelphia, Royal Concertgebouw andVienna Philharmonic Orchestras. In 2007, she made asuccessful concert tour of Japan. Her versatile concertrepertoire includes symphonies and orchestral lieder byMahler, Wagner’s Wesendonck Lieder and Schoenberg’sGurrelieder.

Petra Lang has worked with such esteemed conductorsas Claudio Abbado, Gerd Albrecht, Pierre Boulez,Semyon Bychkov, Riccardo Chailly, Myung Whun Chung,Andrew Davis, Colin Davis, Ivan Fischer, Bernard Haitink,Marek Janowski, Armin Jordan, Fabio Luisi, Kurt Masur,Riccardo Muti, Simon Rattle, Wolfgang Sawallisch,Jeffrey Tate, Christian Thielemann, Franz Welser-Möstand Simone Young.

Future engagements include the role of Venus inTannhäuser in Munich; Cassandra in a new productionof Les Troyens at the Deutsche Oper Berlin; Ortrud inLohengrin at the Bayreuth Festival in 2011 and for SanFrancisco Opera; Rusalka at Covent Garden; Kundry inParsifal in 2013 in Munich; and numerous concerts.



LONDON PHILHARMONIC CHOIRPATRON: HRH Princess Alexandra ACCOMPANIST: Iain FarringtonPRESIDENT: Sir Roger Norrington CHAIRMAN: Mary MooreARTISTIC DIRECTOR: Neville Creed CHOIR MANAGER: Kevin Darnell

Sopranos Catherine Allum, Annette Argent, TessaBartley, Olivia Carter, Paula Chessell, Alana Clark, KatjaCleasby, Sally Cottam, Shelia Cox, Sarah Deane-Cutler,Sally Domegani, Alison Flood, Rachel Gibbon, HannahGrace, Simone Gregoire, Jane Hanson, Francesca Harris,Sally Harrison, Elizabeth Hicks, Alexa Hills, Laura Hunt,Erin Hutchinson, Georgina Kaim, Jenni Kilvert, OliviaKnibbs, Ilona Kratochvilova, Frances Lake, CharlotteLawrence, Laetitia Livesey, Joanna Loxton, Marj McDaid,Linda Park, Teresa Pells, Christine Rush, Caryn Smith,Claire Spencer, Tania Stanier, Caroline Taunt, SusanThomas, Agnes Tisza, Alicia Van der Merwe, LauraWestcott, Fran Wheare, Hannah Widmann

Altos Joanna Arnold, Katrina Black, Sam Castell-Finegold, Noel Chow, Yvonne Cohen, Liz Cole, Janik Dale,Margaret Driver, Moira Duckworth, Andrea Easey, LynneEaton, Carmel Edmonds, Regina Frank, Clare Galton,Kathryn Gilfoy, Lara Harvey, Erica Howard, Kasia Hunt,Kate Jackson, Edith Judd, Alexis Kessler Calice, LisaMacDonald, Mary Moore, Marjana Morrison, RachelMurray, Elisabeth Nicol, Angela Pascoe, Helene Richards,Sheila Rowland, Jenny Ryall, Carolyn Saunders, TamaraSwire, Rachel Taylor, Catherine Travers, Susi Underwood,Margaret de Valois Rowney, Jenny Watson, SuzanneWeaver, Erika Weingarth

Founded in 1947, the London Philharmonic Choir iswidely regarded as one of Britain’s finest choirs,consistently meeting with great critical acclaim. It hasperformed under leading international conductorsthroughout its history and made numerous recordingsfor CD, radio and television. Its Artistic Director isNeville Creed.

Enjoying a close relationship with the LondonPhilharmonic Orchestra, the Choir joins it regularly forconcerts in the UK and abroad. Last season’s highlightsincluded performances of Mahler’s Symphony No. 2,Mendelssohn’s Elijah, Haydn’s Seven Last Words,Honegger’s Une Cantate de Noël, Poulenc’s StabatMater, Janáč�ek’s The Eternal Gospel, Myaskovsky’sSymphony No. 6 and Liszt’s A Faust Symphony. Futureconcerts this season include Bartók’s The MiraculousMandarin, Dvoř�ák’s Te Deum and Stabat Mater, Fauré’sRequiem, Mahler’s Das klagende Lied, Holst’s The Planetsand Elgar’s The Dream of Gerontius. Recently releasedCDs with the London Philharmonic Orchestra includeDvoř�ák’s Requiem conducted by Neeme Järvi andBrahms’s Ein deutsches Requiem with Yannick Nézet-Séguin.

The Choir appears regularly at the BBC Proms at theRoyal Albert Hall and performances have includedBeethoven’s Symphony No. 9, Elgar’s The Dream ofGerontius, Rachmaninov’s The Bells and the UKpremières of Mark-Anthony Turnage’s A Relic of Memoryand Goldie’s Sine Tempore in the Evolution! Prom. TheChoir shared the stage with Daleks and other creaturesat the Doctor Who Prom in 2008 and for a second timein 2010.

The London Philharmonic Choir also works with otherleading orchestras. It has visited many countries inEurope and travelled as far afield as Kuala Lumpur,Hong Kong and Perth, Australia. In 2007, the Choircelebrated its 60th anniversary and published a book –Hallelujah: An Informal History of the LondonPhilharmonic Choir. The book is available from retailoutlets here at Southbank Centre and can be orderedthrough the Choir’s website.

The London Philharmonic Choir prides itself onachieving first-class performances from its members,who are volunteers from all walks of life. For moreinformation, including details about how to join, pleasevisit www.lpc.org.uk.



TRINITY BOYS CHOIRDIRECTOR: DAVID SWINSON

Singers: Joshua Aarons, Adam Ahmed, Sherwyn Appadu, SamuelAston, Leo Benedict, Alex Canning, Miles Cook,Benjamin Crozier, Henry Crozier, Dylan Davies, JamesDugan, Luke Dugan, Sebastian Elliott, Francesco Gosnell,Thomas Heming, Duy Le, Stefan Leadbeater, Adam Lord,Matthew Morris, Geoffrey Niu, Christopher O’Brien,Dominic O’Donnell, Joseph Parks, Benjamin Richardson,Joshua Richardson, John Ritchie, Joseph Rooke, LukeSaint, Andrew Samarasekara, Parshav Savla, ChristopherSharrock, Brendan Shek, Benjamin Stein, Pascal Tohouri,Fred Willis

Trinity Boys Choir is one of the busiest and mostsuccessful in the world. It has enjoyed a highprofessional profile, both at home and abroad, since itsfoundation by David Squibb over forty years ago.

In the world of opera, the boys appear on suchprestigious stages as Glyndebourne, the Royal OperaHouse, Covent Garden, English National Opera, theOpéra Comique, Paris, and La Fenice, Venice, as well asat the Aix-en-Provence Festival. The boys are especiallywell known for their part in Britten’s A MidsummerNight’s Dream in which they have appeared in over onehundred and fifty professional performances. Theyfeature on both the Warner DVD and the Virgin ClassicsCD of the opera.

On the concert platform, the Choir is regularly invited toperform at the BBC Proms and was honoured to sing atHer Majesty the Queen’s 80th Birthday Prom Concert atthe Royal Albert Hall in 2006. The boys have performedwith all the major London orchestras, and with Sir JohnEliot Gardiner and his Monteverdi Choir in Spain,Germany, Italy and the UK. Trinity Boys Choir has alsobeen invited to sing in Vienna with the Vienna BoysChoir, and in France, Holland, Hong Kong, Japan,Malaysia and Norway.

The Choir’s many recordings include John Rutter’s Bang,an opera written for the boys, Britten’s A Boy Was Bornwith the BBC Symphony Chorus, and Walton’s Henry Vwith the BBC Symphony Orchestra and the BBC Singers.Several feature films also incorporate the voices ofTrinity Boys Choir including Lord of the Flies and 101Dalmations.

WELCOME TO SOUTHBANK CENTRE

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

Eating, drinking and shopping? Southbank Centre shopsand restaurants include: Foyles, EAT, Giraffe, Strada, YO!Sushi, wagamama, Le Pain Quotidien, Las Iguanas, pingpong, Canteen, Caffè Vergnano 1882, Skylon, Concreteand Feng Sushi, as well as cafes, restaurants and shopsinside the Royal Festival Hall, Queen Elizabeth Hall andHayward Gallery

If you wish to get in touch with us following your visitplease contact Kenelm Roberts, our Head of CustomerRelations, at Southbank Centre, Belvedere Road, LondonSE1 8XX or email [email protected] orphone 020 7960 4250.

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

PHOTOGRAPHY is not allowed in the auditorium

LATECOMERS will only be admitted to the auditorium ifthere is a suitable break in the performance

RECORDING is not permitted in the auditorium withoutthe prior consent of Southbank Centre. Southbank Centrereserves the right to confiscate video or sound equipmentand hold it in safekeeping until the performance has ended

MOBILES, PAGERS AND WATCHES should be switchedoff before the performance begins

SOUTHBANK CENTRE



Die drei Schwestern (The Three Sisters)Die Mädchen mit den verbundenen Augen (The Maidenswith Bound Eyes)

Lied der Jungfrau (The Song of the Virgin)Als ihr Geliebter schied (When her lover went away)Und kehrt er einst heim (And should he return one day)Sie kam zum Schloss gegangen (She came towards the castle)

‘My God, how beautiful it all is!’ That was the composerand conductor Anton Webern’s reaction to the fifth ofthese songs, Und kehrt er einst heim, in a letter to thecomposer; ‘the passage, “Say, for fear lest he weep, thatI smiled.” Indescribable.’ Did Webern realise that he’dtouched a tender nerve – probably the very place wherethis sensitive, secretive composer felt most vulnerable?At the turn into the twentieth century, Zemlinsky hadhad an intense, but not quite consummated affair withthe talented and powerfully alluring Alma Schindler,daughter of one of Vienna’s most celebrated painters,Emil Schindler. But then Alma got to know the morecharismatic, and at that time much more successful

Gustav Mahler, and after some initial vacillation, shechose to become the latter’s wife. Zemlinsky’s feelingsof grief and unfulfilled longing never really left him, andthese themes return again and again in his vocal andstage works. The desperately poignant ending of hisgreat Lyric Symphony (1923) deals with two loversparting for the last time. And in these Six MaeterlinckSongs, all written in 1910, emotional betrayal and lossfeature increasingly. Even the hymn-like Lied derJungfrau has an expressively telling moment at thephrase, ‘Verirrt sich die Liebe’ (‘If love goes astray’); andthe personal element becomes increasingly clear in thelast three songs.

The date of composition also has intensely personalsignificance. During the summer of 1910, Mahler madea terrible discovery: his beloved Alma was having anaffair with a younger man, the architect Walter Gropius,and was thinking of leaving him. The shock almostcertainly hastened Mahler’s final decline – he died thefollowing year. In Zemlinsky’s Und kehrt er einst heim awoman leaves her husband, but not before instructing

PROGRAMME NOTES

SIX MAETERLINCK SONGS, OP. 13

PETRA LANG mezzo soprano

AlexanderZEMLINSKY

1871-1942

SPEEDREAD

Gustav Mahler never had any qualms about aiming high.In his own words, the Third Symphony ‘begins withinanimate nature and ascends to the love of God.’ It is atruly extraordinary musical journey, on which one mayencounter angels, wild animals, a ghostly post-horn, theterrifying majesty of the god Pan and the musings of agreat German philosopher. What makes the symphonyso much more than a crazily ambitious ragbag of imagesand ideas is the music: an awe-inspiring trombone solohere, a wild, brilliant collage of marching bands the next;

voluptuous beauty alternates with exquisite stillness;anguished, lonely melodies melt into heart-easing hymntunes.

Mahler’s slightly younger contemporary AlexanderZemlinsky was more secretive, more introverted. On thewhole he avoided grand gestures or universe-embracingphilosophical schemes. But his luscious, acutely sensitiveMaeterlinck Songs also contain a note of intense self-revelation, especially when they deal with lost love –after all, this was the man who lost the love of his life tothe charismatic Gustav Mahler…



PROGRAMME NOTES

her maid on how to break the news to him. When Almare-established contact with Zemlinsky in 1913, tellinghim how much she’d enjoyed the songs, Zemlinsky toldher to ‘take a good look’ at this song. But if he felt anySchadenfreude towards Mahler, his once-successful rival,the music reveals none of it. Instead we have onlyexquisite tenderness, mingled with sadness at the

husband’s irretrievable loss. In the previous song, No 4,Als ihr Geliebter schied, it is the woman who is betrayed,finally throwing herself to her death from a towerwindow. But Zemlinsky’s own experience surfaces fullyin Sie kam zum Schloss gegangen. The old king watchespowerlessly as his much younger wife leaves him, in thearms of the man she truly loves.

1. The Three Sisters

The three sisters were fain to die,put on their crowns of gold,went in search of death,

thought to find him in the forest.‘Forest, shouldst thou grant us death,thou shalt inherit three golden crowns.’

At that the forest began to laughand with a dozen kisseslet them know the future.

The three sisters were fain to die,thought to find death at sea,journeyed three long years.

‘Sea, shouldst thou grant us death,thou shalt inherit three golden crowns.’

At that the sea began to weep,and with three times one hundred kisseslet them know the past.

The three sisters were fain to die,turned their steps towards the citylying mid an island.

‘City, shouldst thou grant us death,thou shalt inherit three golden crowns.’

And the city opened its gatesand with passionate kisses of lovelet them know the present.

2. The Maidens with Bound Eyes

The maidens with bound eyes(take off the golden blindfolds!)the maidens with bound eyeswished to meet their destiny.

1. Die drei Schwestern

Die drei Schwestern wollten sterben, Setzten auf die güldnen Kronen,Gingen sich den Tod zu holen,

Wähnten ihn im Walde wohnen.„Wald so gib uns, dass wir sterben, Sollst drei güldne Kronen erben!“

Da begann der Wald zu lachen Und mit einem Dutzend KüssenLiess er sie die Zukunft wissen.

Die drei Schwestern wollten sterben,Wähnten Tod im Meer zu finden, Pilgerten drei Jahre lang.

„Meer, so gib uns, dass wir sterben, Sollst drei güldne Kronen erben!“

Da begann das Meer zu weinen, Liess mit dreimal hundert Küssen Die Vergangenheit sie wissen.

Die drei Schwestern wollten sterben,Lenkten nach der Stadt die Schritte, Lag auf einer Insel Mitte.

„Stadt, so gib uns, dass wir sterben, Sollst drei güldne Kronen erben!“

Und die Stadt tat auf die Tore Und mit heißen Liebesküssen Liess die Gegenwart sie wissen.

2. Die Mädchen mit den verbundenen Augen

Die Mädchen mit den verbundenen Augen (Tut ab die goldenen Binden!)Die Mädchen mit den verbundenen Augen Wollten ihr Schicksal finden.


PROGRAMME NOTES


Haben zur Mittagsstunde (Lasst an die goldenen Binden!)Haben zur Mittagsstunde Das Schloss geöffnet im Wiesengrunde,

Haben das Leben gegrüsst, (Zieht fester die goldenen Binden!)Haben das Leben gegrüsst, Ohne hinaus zu finden.

Die Mädchen mit den verbundenen Augen Wollten ihr Schicksal finden.

3. Lied der Jungfrau

Allen weinenden Seelen,Aller nahenden SchuldÖffn’ ich im SternenkranzeMeine Hände voll Huld.

Alle Schuld wird zunichteVor der Liebe Gebet,Keine Seele kann sterben,Die weinend gefleht.

Verirrt sich die LiebeAuf irdischer Flur,So weisen die TränenZu mir ihre Spur.

4. Als ihr Geliebter schied

Als ihr Geliebter schied (Ich hörte die Türe gehn)Als ihr Geliebter schied, Da hab ich sie weinen gesehn.

Doch als er wieder kam (Ich hörte des Lichtes Schein)Doch als er wieder kam, War ein anderer daheim.

Und ich sah den Tod (Mich streifte sein Hauch)Und ich sah den Tod, Der erwartet ihn auch.

5. Und kehrt er einst heim

Und kehrt er einst heim, Was sag ich ihm dann?Sag, ich hätte geharrt, Bis das Leben verrann.

At stroke of noon(leave on the golden blindfolds!)at stroke of noonthey opened the castle on the grassy plain,

they greeted life,(make tighter the golden blindfolds!)they greeted life,yet did not find their way out.

The maidens with bound eyeswished to meet their destiny.

3. The Song of the Virgin

To all weeping souls,all sinners who approach,haloed by starsI open my arms, full with grace.

All sin will perishbefore love’s prayer,no soul can diewhich, weeping, repents.

If love goes astrayon earthly plains,then tears will show mewhither it has gone.

4. When her lover went away

When her lover went away(I heard the door close)when her lover went awayI saw her weeping.

Yet when he returned(I heard the light of the lamp)yet when he returnedanother was at home.

And I saw death(his breath touched me lightly)and I saw deathawaiting him also.

5. And should he return one day

And should he return one day,what am I to tell him?– Tell him, I waitedtill my life ebbed away.


PROGRAMME NOTES


Wenn er weiter fragt Und erkennt mich nicht gleich?Sprich als Schwester zu ihm;Er leidet vielleicht.

Wenn er fragt, wo du seist, Was geb ich ihm an?Mein Goldring gib Und sieh ihn stumm an ...

Will er wissen, warum So verlassen das Haus?Zeig die offne Tür, Sag, das Licht ging aus.

Wenn er weiter fragt Nach der letzten Stund’?Sag, aus Furcht, dass er weint, Lächelte mein Mund.

6. Sie kam zum Schloss gegangen

Sie kam zum Schloss gegangen, Die Sonne erhob sich kaum.Sie kam zum Schloss gegangen, Die Ritter blickten mit Bangen Und es schwiegen die Frauen.

Sie blieb vor der Pforte stehen, Die Sonne erhob sich kaum.Sie blieb vor der Pforte stehen, Man hörte die Königin gehen Und der König fragte sie:

Wohin gehst du? Wohin gehst du?Gib acht in dem Dämmerschein!Wohin gehst du? Wohin gehst du?Harrt drunten jemand dein? Sie sagte nicht ja noch nein.

Sie stieg zur Fremden hernieder Gib acht in dem Dämmerschein.Sie stieg zu der Fremden hernieder, Sie schloss sie in ihre Arme ein.Die beiden sagten nicht ein Wort Und gingen eilends fort.

Poems by Maurice Maeterlinck (1862-1949). © Copyright 1914 by Universal Edition A.G., Wien/UE5540. Reproduced by permission. All rights reserved.

If he asks furtherwithout knowing me straight?– Speak to him as a sister;perhaps he is suffering.

If he asks where you are,how should I answer?– Give him my golden ringand say not a word ...

Should he want to know whythe house is so desolate?– Show him the open door,say the light was blown out.

If he asks further,about your last moment?– Say, for fear lest he weep,that I smiled.

6. She came towards the castle

She came towards the castle– the sun was hardly risen –she came towards the castle,the knights watched uneasilyand the women grew silent.

She stopped before the gate– the sun was hardly risen –she stopped before the gate,the queen’s footsteps were heardand the king asked her:

Where are you going? Where are you going?– Take heed, it is not yet quite light! –Where are you going? Where are you going?Does someone await you down there?She answered neither yes nor no.

She climbed down to the stranger– take heed, it is not yet quite light –she climbed down to the stranger,she embraced her tightly.Neither spoke a wordand they hurried away.

Translations © by Mari Pračkauskas


PROGRAMME NOTES


Part OneKräftig Entschieden [Powerful. Resolute]

Part TwoTempo di Menuetto. Sehr mässig [At a very moderate pace]

Comodo. Scherzando. Ohne Hast [Unhurried]Sehr langsam [Very slow]. Misterioso. Durchaus ppp [As quiet as possible]

Lustig im Tempo und keck im Ausdruck [At jaunty tempo with bold expression]

Langsam. Ruhevoll. Empfunden [Slow. Peaceful. With Feeling]

No work by Gustav Mahler has stirred up morepassionate controversy than his Third Symphony. Theworld première, in the German town of Krefeld in 1902,was a spectacular triumph, despite sweltering summerheat, poor acoustics and an ad hoc orchestra throwntogether at the last minute. Two years later theViennese première was a scandal: the critics wereincensed, one of them walked out of the performancemuttering that Mahler ought to be put in jail. Sincethen the symphony has continued to polarise opinion.‘It’s all very well’, spluttered the composer WilliamWalton, ‘but you can’t call that a symphony.’ For ArnoldSchoenberg however, the Third Symphony revealed ‘ahuman being, a drama, truth, the most ruthless truth!’

It is easy to see why the Third Symphony should provokesuch extreme reactions. In both form and content it isMahler’s most extravagant, outrageous work. Mahlerfamously told Sibelius that ‘the symphony must be likethe world. It must embrace everything’. Mahler wroterevealingly about the Third Symphony in his letters tothe soprano Anna von Mildenburg. ‘Just imagine a workof such magnitude that it actually mirrors the wholeworld – one is, so to speak, an instrument played uponby the universe… In my symphony the whole of naturefinds a voice.’

For a while, Mahler contemplated giving the ThirdSymphony a title: perhaps Pan, after the Greek naturegod, or maybe The Joyful Science, after one of FriedrichNietzsche’s philosophical works. In the fourthmovement of the Third Symphony Mahler sets the mostfamous lines from Nietzsche’s Thus Spake Zarathustra.This was the work in which Nietzsche first put forwardthe ideal of the ‘Superman’, the man who can embracelife – nature – in all its fullness, who can confront boththe beauty and the horror of existence withoutfaltering. After writing the Third Symphony’s secondmovement Mahler made this very Nietzschianobservation: ‘It always strikes me as strange that mostpeople, when they speak of “nature”, think only offlowers, little birds, and woodsy smells. No one knowsthe god Dionysus, the great Pan. There now! You have a

GustavMAHLER

1860-1911

INTERVAL 20 minutes

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

SYMPHONY NO. 3 IN D MINOR

PETRA LANG mezzo soprano

LONDON PHILHARMONIC CHOIRTRINITY BOYS CHOIR


PROGRAMME NOTES


sort of programme... Everywhere and always it is onlythe voice of nature!’

Fired by this vision, Mahler set out his programme inmore detail. The symphony’s six movements were tohave subtitles:

1. ‘Summer marches in’. 2. ‘What the flowers of the meadow tell me’. 3. ‘What the animals of the forest tell me’. 4. ‘What night tells me (mankind)’. 5. ‘What the morning bells tell me (the angels)’. 6. ‘What love tells me’.

A philosophical plan emerges, in which each movementaspires higher than the one before. The awakening ofelemental nature leads eventually to the realisation oftranscendent love. But painful experience had planteddoubts in Mahler’s mind about titles and literaryprogrammes, and in later performances the ThirdSymphony appeared without detailed explanatorynotes. Clearly there are elements in the Third Symphonythat cry out for more than musical explanation – howelse can we make sense of his choice of texts in thefourth and fifth movements, or the strangely evocativeoffstage post-horn solo in the third? Of course it’shelpful to know what Mahler had in mind, but at alltimes the listener’s imagination must be free to divineits own meanings.

The listener also needs to be prepared for the ThirdSymphony’s extraordinary proportions. The firstmovement is huge: around 35 to 40 minutes in mostperformances, and at times it feels more like a fantastickaleidoscope of wildly contrasting sounds than atraditional symphonic argument. However one can saythat this movement alternates three kinds of music: thedark, primordial sounds of the opening (described byMahler as ‘Pan awakes’), pastoral sounds (murmurouswind and string trills, woodwind birdcalls), and anincreasingly wild collage of raucous, garish marchmusic. Eventually it is the martial music whichtriumphs: ‘Summer marches in’.

The ‘flowers of the meadow’ minuet that follows is on amuch more intimate scale, with delicately aromaticscoring and gentle folksy tunefulness. This movementquickly became a hit in its own right – like the famous

Adagietto from the Fifth Symphony. The thirdmovement is more complex. The naïve vitality of theopening ‘animals of the forest’ music is twiceinterrupted by the offstage post-horn, soundingthrough a quiet halo of high strings. Physical distancehere creates an effect of emotional distance – a warmly-tinged memory perhaps, or an evocation of lost primalinnocence. Then, near the end of this movement comesa ferocious fortissimo outburst: Pan is revealed again inall his frightful majesty.

Quiet echoes of the deep bass stirrings from near thebeginning of the symphony introduce the fourthmovement, almost all of which is delivered in an awe-struck pianissimo. Here the subject is mankind’s struggleto make sense of the world, its joy and its grief, asexpressed enigmatically in Nietzsche’s verses. But havinggone this far with Nietzsche, Mahler’s philosophicaljourney turns in a new direction. Nietzsche rejectedChristian compassion as unworthy of his ‘Superman’.Mahler now embraces it in his fifth movement. Thesound of church bells (literally and mimicked by theboys’ choir) introduces the voices of angels. In simple,folk-like tones they tell of God’s forgiveness of Peter, the‘all too human’ disciple of Christ who became the rockon which the Christian Church was built.

This is the symphony’s turning point. The sixthmovement now combines the functions of slowmovement and finale, moving from rapt meditation togrand summing-up. An ardent, hymn-like theme forstrings (‘What love tells me’) alternates with troubled,searching music. Ideas from earlier in the symphonyreturn, then the hymn builds to a grand apotheosis,using the force of the full orchestra (minus the harps)for the first time since the end of the first movement.Writing to Anna von Mildenburg, Mahler composed alittle verse motto for this movement: ‘Father, see thesewounds of mine! Let no creature of yours be lost!’ So,Mahler concluded, the symphony finally holds out thehope of something like Christian redemption. ‘I couldalmost call this “What God tells me”. And truly, in thesense that God can only be understood as love. And somy work begins as a musical poem embracing all stagesof development in a step-wise ascent. It begins withinanimate nature and ascends to the love of God.’

Programme notes by Stephen Johnson © 2010



O Mensch, gib Acht!Was spricht die tiefe Mitternacht?Ich schlief, ich schlief!Aus tiefem Traum bin ich erwacht!Die Welt ist tief,Und tiefer als der Tag gedacht!Tief ist ihr Weh!Lust, tiefer noch als Herzeleid!Weh spricht: Vergeh!Doch alle Lust will Ewigkeit,Will tiefe, tiefe Ewigkeit!

Es sungen drei Engel einen süssen Gesang,Mit freuden es selig in dem Himmel klang,Sie jauchzten fröhlich auch dabei,Das Petrus sei von Sünden frei.

Und als der Herr Jesus zu Tische sass,Mit seinen zwölf Jüngern das Abendmahl assDa sprech der Herr Jesus: Was stehst du denn hier?Wenn ich dich anseh’, so weinest du mir!Und sollt’ ich nicht weinen Du gütiger Gott,Ich hab’ übertreten die zehn Gebot’.Ich gehe und weine ja bitterlich,Ach komm und erbarme dich über mich!

Hast du denn übertreten die zehn Gebot’,So fall’ auf die Knie und bete zu Gott,Liebe nur Gott in alle Zeit!So wirst du erlangen die himmlische Freud’.

Die himmlische Freud’ ist ein selige Stadt,Die himmlische Freud’, die kein Ende mehr hat! Die himmlische Freud’ war Petro bereit’tDurch Jesum und Allen zur Seligkeit.

O Man, take heed!What does the deep midnight say?I slept, I slept!From a deep dream I was awakened!The world is deep,And deeper than the day imagined!Deep is its woe!Joy, deeper still than heartache! Woe says: Begone!But all joy seeks eternity,Seeks deep, deep eternity.

Three angels were singing a sweet song,With joy it rang blissfully in Heaven, At the same time they rejoiced That Peter was freed from sin.

And as the Lord Jesus sat at tableWith his twelve disciples at evening meal,Lord Jesus said: Why do you stand here?When I look at you, you weep before me!And should I not weep, Thou benevolent God,I have broken the ten commandments.I go and weep so bitterly,Ah come and have mercy upon me!

If you have broken the ten commandments,Then fall on your knees and pray to God,Love only God for evermore!Then heavenly joy will be yours.

Heavenly joy is a blessed city,Heavenly joy, which has no end!Heavenly joy was granted to PeterThrough Jesus and all in blessed state.

English translations © Eric Mason

PROGRAMME NOTES

Hearevery noteHard of hearing? Visit the cloakroom for equipment to improve your concert experience.



MAHLER RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. CDs may alsobe purchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 0207840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

LPO-0012 Klaus Tennstedt conducts Mahler’s Songs of a Wayfarer (with ThomasHampson) and Symphony No. 1

‘... a stirring account, with his tight control causing Mahler’s climactic outbursts –both joyous and nostalgic – to hit home potently ... The LPO’s lead bassist tacklingMahler’s minor-key overhaul of ‘Frère Jacques’ is fittingly melancholic, while thefinale is packed with energy and bracing inevitability.’CLASSIC FM MAGAZINE

LPO-0033 Jaap Van Zweden conducts Mahler’s Symphony No. 5

‘He unfolds the drama of the first movement with a sure grasp of the need forsubtle variations of tempo … the finale is a joyous, life-affirming rondo that lifts thespirits.’ MICHAEL KENNEDY, THE SUNDAY TELEGRAPH, 10 AUGUST 2008

LPO-0038 Klaus Tennstedt conducts Mahler’s Symphony No. 6

‘This live recording of a 1983 performance of Mahler’s Sixth Symphony might notbe at the cutting edge of modern digital technology, but musically it sweeps awayeverything before it.’CLASSIC FM MAGAZINE

LPO-0044 Klaus Tennstedt conducts Mahler’s Symphony No. 2

‘This live version of the Resurrection is frequently startling – extremely expansivebut exciting, dramatic and highly charismatic …The playing and singing areexcellent, and the recording, made by the Music Performance Research Centre, isnear-faultless.’GRAHAM RICKSON, THE ARTS DESK, 22 MARCH 2010



Corporate MembersAppleyard & Trew llpBritish American BusinessBrown Brothers HarrimanCharles RussellDestination Québec – UKDiagonal ConsultingLazardLeventis OverseasMan Group plcQuébec Government Office in London

Corporate DonorLombard Street Research

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

Education PartnersLambeth City Learning CentreLondon Borough of LambethSouthwark EiC

Trusts and FoundationsAllianz Cultural FoundationThe Andor Charitable TrustRuth Berkowitz Charitable TrustThe Boltini TrustBorletti-Buitoni TrustThe Candide Charitable TrustThe John S Cohen FoundationThe Coutts Charitable TrustThe Dorset FoundationThe D’Oyly Carte Charitable TrustDunard FundThe Equitable Charitable TrustThe Eranda FoundationThe Ernest Cook TrustThe Fenton Arts TrustThe Foyle FoundationThe Jonathan & Jeniffer Harris TrustThe Idlewild TrustThe Emmanuel Kaye FoundationJohn Lyon’s CharityMaurice Marks Charitable TrustThe Michael Marks Charitable TrustMarsh Christian Trust

UK Friends of the Felix-Mendelssohn-BartholdyFoundation

The Mercers’ CompanyAdam Mickiewicz InstitutePaul Morgan Charitable TrustMaxwell Morrison Charitable TrustMusicians Benevolent FundThe R K Charitable TrustSerge Rachmaninoff FoundationThe Rubin FoundationThe Samuel Sebba Charitable TrustSound ConnectionsThe Steel Charitable TrustThe Bernard Sunley Charitable

FoundationJohn Thaw FoundationThe Sir Jules Thorn Charitable TrustThe Underwood TrustGarfield Weston FoundationYouth Music

and others who wish to remainanonymous.

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

Thomas Beecham GroupMr & Mrs Richard & Victoria SharpJulian & Gill SimmondsMrs Steven WardSimon Yates & Kevin Roon

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

Guy & Utti Whittaker

Principal BenefactorsMark & Elizabeth AdamsJane AttiasLady Jane BerrillDesmond & Ruth CecilMr John H CookMrs Sonja DrexlerMr Charles DumasDavid EllenCommander Vincent Evans

Mr Daniel GoldsteinMrs Barbara GreenMr Ray HarsantOliver HeatonPeter MacDonald EggersMr & Mrs David MalpasAndrew T MillsMr Maxwell MorrisonMr Michael PosenMr & Mrs Thierry Sciard

Mr John Soderquist & Mr CostasMichaelides

Mr & Mrs G SteinMr & Mrs John C TuckerHoward & Sheelagh WatsonMr Laurie WattMr Anthony Yolland

BenefactorsMrs A BeareDr & Mrs Alan Carrington

CBE FRSMarika Cobbold & Michael

Patchett-JoyceMr & Mrs Stewart CohenMr Alistair CorbettMr David EdgecombeMr Richard Fernyhough

Ken FollettMichael & Christine HenryMr Glenn HurstfieldMr R K JehaMr & Mrs Maurice LambertMr Gerald LevinSheila Ashley LewisWg. Cdr. & Mrs M T Liddiard

OBE JP RAFMr Frank LimPaul & Brigitta LockMr Brian MarshJohn MontgomeryMr & Mrs Egil OldeideEdmund PirouetMr Peter TausigMrs Kazue TurnerLady Marina VaizeyMr D Whitelock

Hon. BenefactorElliott Bernerd

Hon. Life MembersKenneth GoodeMrs Jackie Rosenfeld OBE

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



PHILHARMONIC NEWS

A Tribute to Anthony Byrne on hisRetirement

Tony Byrne was born in Dublin andspent all his formative years there. Hestudied the violin at school but inorder to make up a chamber musicgroup was ‘elected’ to play the violaand fell in love with the instrumentright away. He was subsequentlyoffered a scholarship to study at theCollege of Music in Dublin.

After completing his studies he joinedthe Symphony Orchestra of the IrishRadio and was also a foundermember of the newly formed IrishChamber Orchestra. He left Dublin in1965 to join the BBC Orchestra in Bristol and later spentseven years with the Bournemouth Sinfonietta asPrincipal Viola. He joined the London PhilharmonicOrchestra in 1974 and played as Co-Principal Viola formany years before moving down the section a fewyears ago.

He lives in Hassocks and delights in country life andlong walks on the Sussex Downs. He particularly enjoysour Glyndebourne seasons and his entertaining andenthusiastic tours of the opera house given in his stillaudible soft Irish brogue have long enchanted oursupporters.

A colleague recalls: “Tony is a man ofinfinite charm and, as with hisplaying, when he speaks you have tolisten. He has been a colleague since1972 when I first met him whilefreelancing with BournemouthSinfonietta where at the time he wasPrincipal Viola. Some years later hewas to join me in the LondonPhilharmonic.

“In recent years he has shared manychamber music performances withme, delighting the audience not onlywith his playing but also with hispreambles on the music we areabout to perform.

“He is a person of great enthusiasms: his family, hiscommitment to the Orchestra and his Italian languagestudies. His enormous popularity amongst themembers of the Orchestra has long been celebrated ina song 'There is only one Tony Byrne' written by variousmembers of the brass section and sung regularly on thebuses on every tour.

“His retirement will leave a great gap in the life of theOrchestra and we shall sorely miss him.”

We are grateful to John and Angela Kessler, members of theOrchestra's Thomas Beecham Group, whose donations in recentseasons have supported Tony's chair.

Our grateful thanks to:

Mr Ralph AldwinckleMr Clifford BrownMr Michael ChingMs Alison C ClarkeMr Geoffrey A CollensMiss Tessa CowieMrs G Hegglin-Petris

Mr Hugh HerringtonMr Jeffrey HerrmannMr R A InghamMr Stephen OltonMr David MacFarlaneMr Ivan PowellMr & Mrs Graham & Jean Pugh

Mr James A ReeceMrs Lesley SmurthwaiteMr & Mrs John & Susi UnderwoodMr & Mrs R & J A WallhouseMr E WeighmanMr C D Yates

Principal Friends

The London Philharmonic Orchestra acknowledges the generous support of its Principal Friends whose valuablecontributions, along with those made by all our Friends and Supporters, help us to ensure the continued qualityof our work both on and off the concert platform.

Anthony Byrne



ADMINISTRATION

BOARD OF DIRECTORS

Martin HöhmannChairmanStewart McIlwhamVice-ChairmanSue BohlingSimon CarringtonLord Currie*Jonathan Dawson*Anne McAneneyGeorge PenistonSir Bernard Rix*Kevin RundellSir Philip Thomas*Sir John Tooley*The Rt Hon. Lord Wakeham DL*Timothy Walker AM †*Non-Executive Directors

THE LONDON PHILHARMONIC TRUST

Pehr Gyllenhammar ChairmanDesmond Cecil CMGRichard Karl GoeltzJonathan Harris CBE FRICSDr Catherine C. HøgelMartin HöhmannAngela KesslerClive Marks OBE FCAVictoria SharpJulian SimmondsTimothy Walker AM †Laurence Watt

AMERICAN FRIENDS OF THELONDON PHILHARMONICORCHESTRA, INC.

We are very grateful to theBoard of the American Friendsof the London PhilharmonicOrchestra for its support ofthe Orchestra’s activities inthe USA.

PROFESSIONAL SERVICES

Charles RussellSolicitors

Horwath 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 ChandlerConcerts Director

Ruth SansomArtistic Administrator

Graham WoodConcerts, Recordings andGlyndebourne Manager

Alison JonesConcerts Co-ordinator

Jenny ChadwickTours and EngagementsManager

Jo OrrPA to the Executive / Concerts Assistant

Matthew FreemanRecordings Consultant

EDUCATION ANDCOMMUNITY PROGRAMME

Matthew ToddEducation and Community Director

Anne FindlayEducation Officer

Isobel TimmsCommunity Officer

Alec HaylorEducation and Community Assistant

Richard MallettEducation and Community Producer

ORCHESTRA PERSONNEL

Andrew CheneryOrchestra Personnel Manager

Sarah ThomasLibrarian

Michael PattisonStage Manager

Camilla BeggAssistant Orchestra PersonnelManager

Ken Graham TruckingInstrument Transportation(Tel: 01737 373305)

DEVELOPMENT

Nick JackmanDevelopment Director

Phoebe RouseCorporate Relations Manager

Sarah TattersallCorporate Relations and Events Manager

Melissa Van EmdenCorporate Relations and Events Officer

Elisenda AyatsDevelopment and FinanceOfficer

Elizabeth GrewIntern

MARKETING

Kath TroutMarketing Director

Ellie DragonettiMarketing Co-ordinator

Frances CookPublications Manager

Samantha KendallBox Office Administrator(Tel: 020 7840 4242)

Josephine LangstonTemporary Marketing Assistant

Charly Fraser-AnnandIntern

Valerie BarberPress Consultant(Tel: 020 7586 8560)

ARCHIVES

Edmund PirouetConsultant

Philip StuartDiscographer

Gillian PoleRecordings Archive


89 Albert Embankment London SE1 7TPTel: 020 7840 4200Fax: 020 7840 4201Box Office: 020 7840 4242

www.lpo.org.ukVisit the website for fulldetails of LondonPhilharmonic Orchestraactivities.

The London PhilharmonicOrchestra Limited is aregistered charity No. 238045.

Photographs of Zemlinsky andMahler courtesy of the RoyalCollege of Music, London.

Photograph on the front cover by Karen Robinson.

Programmes printed by Cantate.

†Supported by Macquarie Group



FUTURE CONCERTSAT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

Saturday 25 September 2010 | 7.30pm

Haydn Symphony No. 63 (La Roxelane)Matteo D’Amico Flight from Byzantium (worldpremière)*Dufay Moribus et genere†; Vergene bella†; Lamentatiosanctae matris ecclesiae Constantinopolitanae†Bartók The Miraculous Mandarin (complete)

Vladimir Jurowski conductorOmar Ebrahim narratorThe Hilliard EnsembleLondon Philharmonic Choir

6.15pm–6.45pm | FREE Pre-Concert Event Royal Festival HallMembers of The Hilliard Ensemble discuss D’Amico’sFlight from Byzantium.

Barlines – FREE Post-Concert EventLevel 2 Foyer at Royal Festival HallAn informal discussion with Vladimir Jurowski followingthe evening’s performance.

* Commissioned by the London Philharmonic Orchestra withthe assistance of Sonja Drexler and the Orchestra GiovanileItaliana.

† The Hilliard Ensemble only

JTI FRIDAY SERIESFriday 1 October 2010 | 7.30pm

Fauré Suite, Pelléas et MélisandeSaint-Saëns Piano Concerto No. 2Stravinsky The Rite of Spring

Yan Pascal Tortelier conductorBehzod Abduraimov piano

Wednesday 6 October 2010 | 7.30pm

Suk Scherzo fantastiqueChopin Piano Concerto No. 2Dvořák Symphony No. 9 (From the New World)

Neeme Järvi conductorEvgeny Kissin piano

Saturday 9 October 2010 | 7.30pm

Dvořák Te DeumDvořák Stabat Mater

Neeme Järvi conductorJanice Watson sopranoSara Fulgoni mezzo sopranoPeter Auty tenorPeter Rose bassLondon Philharmonic Choir

Wednesday 13 October 2010 | 7.30pm

Magnus Lindberg Al largo (UK première)*Mendelssohn Violin ConcertoWalton Symphony No. 1

Osmo Vänskä conductorAgata Szymczewska violin

6.00pm–6.45pm | FREE Pre-Concert EventRoyal Festival HallA performance by children participating in the BridgeProject, a music education initiative in partnership withLondon Music Masters. For more information seewww.londonmusicmasters.org

*Commissioned by the New York Philharmonic Orchestra,London Philharmonic Orchestra and Casa da Musica Porto.

TO BOOKTickets £9-£38 | Premium seats £556 October only: Tickets £12-£45 | Premium seats £60

London Philharmonic Orchestra Ticket Office020 7840 4242 | www.lpo.org.ukMon-Fri 10am-5pm; no booking fee

Southbank Centre Ticket Office | 0844 847 9920www.southbankcentre.co.uk/lpoDaily, 9am-8pm. £2.50 telephone / £1.45 online bookingfees; no fee for Southbank Centre members

Yan Pascal Tortelierand Evgeny Kissin

Neeme Järvi andOsmo Vänskä


Documents

LPO Programme Notes - 22 September 2010