lpo programme notes - 9 october

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALLSaturday 9 October 2010 | 7.30pm

NEEME JÄRVI conductor

JANICE WATSON sopranoSARA FULGONI mezzo sopranoPETER AUTY tenorPETER ROSE bassLONDON PHILHARMONIC CHOIR

DVOŘÁKTe Deum (19’)

INTERVAL

DVOŘÁKStabat Mater (84’)

PROGRAMME £3

CONTENTS

2 List of Players3 Orchestra History4 Leader5 Neeme Järvi6 Janice Watson /

Sara Fulgoni7 Peter Auty /

Peter Rose8 London Philharmonic

Choir9 Programme Notes15 Recordings16 Southbank Centre17 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

55871 LPO 9 October 10_55871 LPO 9 October 10 04/10/2010 15:26

2 | London Philharmonic Orchestra

LONDON PHILHARMONIC ORCHESTRA

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

Katalin VarnagyCatherine CraigTina GruenbergMartin HöhmannChair supported byRichard Karl Goeltz

Robert PoolSarah StreatfeildYang ZhangAlain PetitclercGalina TanneyAnna CroadIshani Bhoola

SECOND VIOLINSClare Duckworth PrincipalChair supported by Richard and Victoria Sharp

Jeongmin KimJoseph MaherNancy ElanNynke HijlkemaAshley StevensImogen WilliamsonHeather BadkeAlison StrangePeter GrahamMila MustakovaStephen Dinwoodie

VIOLASRachel Roberts Guest PrincipalKatharine LeekSusanne MartensBenedetto Pollani

Laura VallejoMichelle BruilIsabel PereiraMartin FennClaudio CavallettiAnthony ByrneChair supported by John and Angela Kessler

CELLOSFrancis Bucknall PrincipalLaura DonoghueSantiago Sabino Carvalho+

Gregory WalmsleySue SutherleyTom RoffPavlos CarvalhoDavid Bucknall

DOUBLE BASSESKevin Rundell* PrincipalLaurence LovelleGeorge PenistonKenneth KnussenTom WalleyJoe Melvin

FLUTESSusan Thomas* PrincipalStewart McIlwham*

OBOESIan Hardwick PrincipalAngela Tennick

COR ANGLAISSue Bohling PrincipalChair supported byJulian and Gill Simmonds

CLARINETSRobert Hill* PrincipalNicholas Carpenter

BASSOONSJohn Price PrincipalGareth Newman*

HORNSJohn Ryan PrincipalEstefania Beceiro GuestPrincipalMartin HobbsMark VinesGareth Mollison

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

TROMBONESMark Templeton* PrincipalDavid Whitehouse

BASS TROMBONELyndon Meredith Principal

TUBALee Tsarmaklis Principal

TIMPANISimon Carrington* Principal

PERCUSSIONRachel Gledhill PrincipalKeith Millar Gillian McDonagh

ORGANHenry Parks

* Holds a professorialappointment in London

+ Chevalier of the Brazilian Order of Rio Branco

Chair SupportersThe London Philharmonic Orchestra also acknowledges the following chair supporters whose players are notpresent at this concert:

Andrew DavenportDavid and Victoria Graham FullerCaroline, Jamie and Zander SharpSimon Yates and Kevin Roon


London Philharmonic Orchestra | 3


Patrick Harrison

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 premières ofworks by Matteo D’Amico, Magnus Lindberg and BrettDean; a rare opportunity to hear Rossini’s opera Aurelianoin Palmira in collaboration with long term partner OperaRara; and works by the Orchestra’s new Composer inResidence, 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, Spain,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




regularly ever since, and in 2005 established its ownrecord 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 SeaPictureswith 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.

PIETERSCHOEMANLEADER

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‘ … a simply tremendous performance ofMahler’s 3rd Symphony … Jurowski and hisplayers plunged us into a winter ofdiscontent so profoundly expectant thateven the inveterate coughers were silenced.’EDWARD SECKERSON, THE INDEPENDENT, 23 SEPTEMBER 2010

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. Earlier this month he performed the BrahmsDouble Concerto 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, London.



NEEME JÄRVICONDUCTOR

The head of a musical dynasty, Maestro Neeme Järvi isone of today’s most respected conductors. He conductsmany of the world’s most prominent orchestras andworks alongside soloists of the highest calibre. Aprolific recording artist, he has amassed a discographyof over 440 recordings.

Recent and future seasons include engagements withthe Berlin Philharmonic Orchestra, Royal ConcertgebouwOrchestra, Orchestre de Paris, Symphonieorchester desBayerischen Rundfunks, Gewandhausorchester Leipzig,Orchestre de la Suisse Romande and the majororchestras of Scandinavia. In the US he is regularlyinvited to conduct the Chicago Symphony, DetroitSymphony and Philadelphia Orchestras. Operaticengagements have taken him to the MetropolitanOpera, Opéra de Paris (Bastille), San Francisco Operaand Téatro Colon in Buenos Aires. He has collaboratedwith soloists such as Janine Jansen, Hélène Grimaud,Evgeny Kissin, Lang Lang, Truls Mørk and Radu Lupu.

This season, in addition to appearances with theorchestras above, Neeme Järvi conducts the ViennaSymphony Orchestra and Deutsches SymphonieOrchester Berlin and, further afield, the New JerseySymphony Orchestra and National SymphonyOrchestra, Washington. This month he will conduct aspecial concert with the Accademia Nazionale di SantaCecilia for the Pope at the Vatican. Later in the year, hewill tour with the Residentie Orkest to Vienna,Bratislava, Maribor, Zagreb and Villach, and with theLuzerner Sinfonieorchester to Turin, Paris and Baden-Baden. 2010/11 also sees him making his annualappearances with the Royal Scottish National Orchestraand the Bergen Philharmonic Orchestra.

During his long and highly successful career he hasheld positions with orchestras all over the world. He iscurrently Chief Conductor of the Residentie Orkest inThe Hague, The Netherlands, Principal Conductor of theEstonian National Symphony Orchestra, and ConductorLaureate and Artistic Advisor of the New JerseySymphony Orchestra. He also holds the titles of MusicDirector Emeritus of the Detroit Symphony Orchestra,Principal Conductor Emeritus of the National Orchestraof Sweden – Gothenburg Symphony Orchestra, FirstPrincipal Guest Conductor of the Japan PhilharmonicOrchestra and Conductor Laureate of the Royal ScottishNational Orchestra.

Highlights of an impressive discography includecritically acclaimed complete symphony cycles ofProkofiev, Sibelius, Nielsen and Brahms. He has alsochampioned less widely known composers such asWilhelm Stenhammar, Hugo Alfvén and Niels Gade,and composers from his native Estonia including RudolfTobias, Eduard Tubin and Arvo Pärt. His most recentdiscs with Chandos are a Wagner/de Vlieger series withthe Royal Scottish National Orchestra, a recording ofBruckner’s Symphony No. 5 with the Residentie Orkestand a disc of Johan Halvorsen’s orchestral works withthe Bergen Philharmonic Orchestra. In 2009 heconducted a performance of Dvořák’s Requiem with theLondon Philharmonic Orchestra which was subsequentlyreleased on the Orchestra’s own label and chosen asEditor’s Choice in the January 2010 issue of Gramophone.

Throughout his career, Neeme Järvi has been honouredwith many international awards and accolades. InEstonia these include an honorary doctorate from theMusic Academy of Estonia in Tallinn and the Order ofthe National Coat of Arms from the President of theRepublic of Estonia, Mr. Lennart Meri. The Mayor ofTallinn presented him with the city’s first-everceremonial sash and coat of arms insignia, and he hasbeen named one of the ‘Estonians of the Century’.Neeme Järvi holds an honorary doctorate of HumaneLetters from Detroit’s Wayne State University and theUniversity of Michigan, as well as honorary doctoratesfrom the University of Aberdeen and the Royal SwedishAcademy of Music. He has also received theCommander of the North Star Order from King KarlGustav XVI of Sweden.

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JANICE WATSONSOPRANO

Janice Watson studied at the Guildhall School of Musicand Drama and first came to prominence as winner ofthe Kathleen Ferrier memorial award. In opera her roleshave included Pamina with the Paris Opera; Vitellia forthe Flanders Opera; Strauss’s Daphne, Arabella andSalome at the Santa Fe Festival; Eva in Die Meistersingervon Nürnberg with the San Francisco Opera; CountessAlmaviva at the Bavarian State Opera; Ellen Orford atthe Vienna State Opera, Netherlands Opera and RoyalOpera House, Covent Garden; Micaela at the Lyric Operaof Chicago; and Countess Almaviva and Liu at theMetropolitan Opera. She has been a regular guest withboth English National Opera (most recently as theMarschallin and Madame Butterfly) and Welsh NationalOpera (most recently as Alice Ford). She returned to theLyric Opera of Chicago for Jennifer in The MidsummerMarriage, made her debut with Opera Australia asElisabeth in Tannhäuser and sang Katia Kabanova forthe Royal Opera and at her debut at La Scala, Milan. Shesang her first Leonora in Fidelio in Beijing andperformed in A Streetcar Named Desire under AndréPrevin and the London Symphony Orchestra.

On the concert platform she has sung with the BostonSymphony under Norrington, San Francisco Symphonyunder Tilson Thomas, London Symphony under ColinDavis, Academy of St Martin in the Fields underMarriner, London Philharmonic under Haitink, and boththe Chicago Symphony and Royal Concertgebouwunder Chailly. Her many recordings include Orff’sCarmina Burana, Poulenc’s Gloria, Howells’ MissaSabrinensis, and the roles of Ellen Orford (for which shereceived a Grammy Award), Helena in A MidsummerNight’s Dream and the title role in Jenůfa. Her currentroles include Ellen Orford in Turin, Elsa for the HamburgOpera and Katia in Oviedo.

SARA FULGONIMEZZO SOPRANO

A graduate of the Royal Northern College of Music, SaraFulgoni is the recipient of numerous awards includingsecond prize in the Kathleen Ferrier Awards in 1993.Her roles have included Carmen for English NationalOpera, Welsh National Opera and at the Beijing MusicFestival; the title role in the world première of TobiasPicker’s Thérèse Raquin at Dallas Opera; Waltraute inGötterdämmerung with English National Opera; Judithin Bluebeard’s Castle with the Canadian Opera Company;Diana in La Calisto in Salzburg; Béatrice in Béatrice etBénédict for the Netherlands Opera; Lola in Cavalleriarusticana with the Geneva Opera; and Penelope in Ilritorno d’Ulisse in patria with the Bayerische Staatsoper,the Royal Danish Opera in Copenhagen and the GenevaOpera. She sings regularly with Welsh National Opera,where her roles have included Béatrice, Orlofsky in DieFledermaus and Kundry in Parsifal, and made her debutat the Royal Opera House as Federica in Luisa Miller.Recent highlights have included Baba the Turk in TheRake’s Progress in Rome, Sorceress in Dido and Aeneas atLa Scala, the title role in The Rape of Lucretia for theFlanders Opera and Maddalena in Rigoletto at the RoyalOpera House.

A committed concert artist, Sara has sung Mahler’sSymphony No. 8 with the Royal ConcertgebouwOrchestra and John Adams’ El Nino in concert with theFlanders Philharmonic Orchestra. In recital she hasappeared at the Concertgebouw, Wigmore Hall, theMontreux-Vevey Festival and in the Châtelet’s Midis-Musicaux series. Her recordings include Elijah, Verdi’sOberto, Suor Angelica and Cherubini’s Mass in D minor.Future plans include the role of Brangäne in Tristan undIsolde for Grange Park Opera, Béatrice for WelshNational Opera and Schumann’s Faust Scenes at theTeatre del Liceu in Barcelona.


PETER AUTYTENOR

Peter Auty is established as one of Britain’s leadingtenors. He made his professional debut at Opera Northin 1998/99 and returned in 2001/02 as Rodolfo in theirmuch acclaimed production of La Bohème. He was acompany principal of the Royal Opera, Covent Garden,from 1999 until 2002 where he covered several majorroles and has returned as a guest to sing the roles ofMalcolm in Macbeth and Edgardo in Lucia diLammermoor. His other roles have included Nemorinoin L’Elisir d’amore with Glyndebourne Festival Opera;Don José in Carmen for Glyndebourne on Tour; ItalianTenor in Der Rosenkavalier, Duke in Rigoletto and Turriduin Cavalleria rusticana for English National Opera; andAlfredo in La Traviata for Opera North. In Europe he hasworked with several companies including FrankfurtOpera where he sang the role of Rodolfo and theNationale Reisopera where he sang the roles of Alfredoand des Grieux in Manon. The 2009/10 season includedthe role of Gustavo in Un ballo in maschera withNationale Reisopera; Cavaradossi in Tosca for GrangePark Opera; and Alvaro in La forza del destino for OperaHolland Park. He will be appearing as Don José forOpera North at the beginning of 2011.

On the concert platform Peter Auty has worked withmany of the UK’s leading orchestras. These haveincluded the London Symphony Orchestra with Sir ColinDavis, the Orchestra of the Age of Enlightenment withSir Mark Elder, and the London Philharmonic Orchestrawith Neeme Järvi and Vladimir Jurowski. Appearancesabroad have included concerts with the IcelandSymphony Orchestra conducted by Vladimir Ashkenazyand the Sydney Symphony Orchestra.

Peter Auty made his recital debut in London in the 2009Rosenblatt Recital Series.

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PETER ROSEBASS

Peter Rose made his operatic debut in 1986 withGlyndebourne Festival Opera in Hong Kong asCommendatore in Don Giovanni. Among the roles hehas sung since are Bottom in Paris, Rome andMetropolitan Opera New York; Phillip in Cologne, Berlinand Hamburg; Basilio in San Francisco, Covent Gardenand Metropolitan Opera; Dosifei in Khovanshchina inHamburg; Osmin in Die Entführung aus dem Serail inSalzburg, Munich, Istanbul and Sydney; Rocco in Fidelioin Vienna and Bregenz; Claggart in Cologne, Vienna andSanta Fe; Ramfis at the Metropolitan Opera, CoventGarden and Deutsche Staatsoper Berlin; Walter in LuisaMiller in Amsterdam; Pope Pius IV in Palestrina inMunich; The Athlete in Lulu at Covent Garden; Ochs forScottish Opera, Metropolitan Opera and Covent Garden;Boris Godunov for English National Opera; and Falstafffor Seattle Opera. Future plans include the roles ofMephistopheles in Gounod’s Faust in Hamburg; Osminand Ochs for the Bayerische Staatsoper; Bottom for theLyric Opera, Chicago and La Roche in Capriccio for theParis Opera and Metropolitan Opera.

Concert performances have included Beethoven’sSymphony No. 9 with Giulini and Barenboim; Mozart’sRequiem with Mehta and Jurowski; Mahler’s SymphonyNo. 8 with Tilson Thomas; La Damnation de Faust withthe Chicago Symphony Orchestra and Solti; andBeethoven’s Missa Solemnis with the New YorkPhilharmonic and Masur. Among his recordings are Lenozze di Figaro with Barenboim and the BerlinPhilharmonic; Salome with the Vienna Philharmonicand von Dohnányi; The Barber of Seville, Tosca, Aida andThe Bartered Bride for Chandos; The Dream of Gerontiuswith the CBSO and Oramo; L’Enfance du Christ with theLondon Symphony Orchestra and Sir Colin Davis; and AMidsummer Nights Dream on DVD.



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

Sopranos Annette Argent, Tessa Bartley, Rebecca Brei,Olivia Carter, Paula Chessell, Katja Cleasby, PennyCoombes, Sally Cottam, Shelia Cox, Sarah Deane-Cutler,Alison Flood, Claudie Gheno, Rachel Gibbon, JaneHanson, Francesca Harris, Sally Harrison, CarolynHayman, Elizabeth Hicks, Alexa Hills, Erin Hutchinson,Jenni Kilvert, Olivia Knibbs, Ilona Kratochvilova, FrancesLake, Charlotte Lawrence, Joanna Loxton, Marj McDaid,Sophie Mearing-Smith, Linda Park, Isobel Pyrke, DianaRichards, Victoria Smith, Claire Spencer, Tania Stanier,Caroline Taunt, Susan Thomas, Agnes Tisza, JennyTorniainen, Nicola Ward, Fran Welch, Fran Wheare

Altos Joanna Arnold, Phye Bell, Susannah Bellingham,Michelle Brockbank, Isabelle Cheetham, Noel Chow, LizCole, Janik Dale, Margaret Driver, Moira Duckworth,Lynn Eaton, Carmel Edmonds, Regina Frank, AdrianFrost, Clare Galton, Kath Gilfoy, Pamela Hider, SophyHolland, Marjana Jovanovic Morrison, Edith Judd,Andrea Lane, Lisa MacDonald, Laetitia Malan, MaryMoore, Rachel Murray, Elisabeth Nicol, Angela Pascoe,Helene Richards, Jenny Ryall, Carolyn Saunders, Tamara

Swire, Susi Underwood, Margaret de Valois Rowney,Jenny Watson, Erika Weingarth

Tenors David Aldred, Geir Andreassen, Tim Appleby,Chris Beynon, John Boyne, Keith Chaundy, BrianCoulstock, James Crawford, Kevin Darnell, MichaelDelany, Dwayne Engh, Aloysius Fekete, Oliver Firth, IainHandyside, Steven Hodges, Rob Home, Patrick Hughes,Andrew Martin, Kevin Rainey, Paul Thirer, Alex Thomas,Tony Wren

Basses Jonathon Bird, Stephen Bonney, Gordon Buky-Webster, Adam Bunzl, David Clark, Phillip Dangerfield,Marcus Daniels, Ian Frost, Paul Gittens, Nigel Grieve,Sam Hancock, Christopher Harvey, Mark Hillier, StephenHines, David Hodgson, Rylan Holey, Hugh Hudson,Martin Hudson, Aidan Jones, Steve Kirby, Robbie Li, JohnLuff, Anthony McDonald, John Morris, Ashley Morrison,William Parsons, Johan Pieters, Tony Piper, David Regan,Daniel Snowman, Peter Sollich, Peter Taylor, EdwinTomlins, James Torniainen, James Wilson, Hin-YanWong, John Wood

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 frequently joins it 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. Thisseason, the Choir recently performed Mahler’sSymphony No. 3 and Bartók’s The Miraculous Mandarin.Future engagements include Fauré’s Requiem, Mahler’sDas klagende Lied, Holst’s The Planets and Elgar’s TheDream of Gerontius in early 2011. Recently released CDswith the London Philharmonic Orchestra includeDvo�řák’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 Choir also works with other leading orchestras, hasvisited many countries in Europe and travelled as farafield as Kuala Lumpur, Hong Kong and Perth, Australia.In 2007, the Choir celebrated its 60th anniversary andpublished a book – Hallelujah: An Informal History ofthe London Philharmonic Choir. The book is availablefrom retail outlets here at the Southbank Centre andcan be ordered through 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 more information, including details about how tojoin, please visit www.lpc.org.uk.




In September 1892, Dvořák made his first crossing ofthe Atlantic to take up what was to be a three-yearappointment as director of the National Conservatory ofMusic in New York. He spent the summer before hisdeparture at his country cottage at Vysoká in southernBohemia. There he received a request from JeannetteThurber, the founder of the Conservatory, to compose acantata called The American Flag for a concert in NewYork on 12 October, a focal point of the celebrations ofthe 400th anniversary of Columbus’s ‘discovery’ ofAmerica. But when the text of the cantata was slow toarrive, he decided as a precaution to start work on asetting of the Te Deum, the great Latin hymn of praise ofthe early church, which he felt would be appropriate tothe occasion. He drafted it in a week at the end of June,and orchestrated it during the following month. In theevent, the Te Deum was not included in the ColumbusDay concert (and neither was The American Flag, whichwas completed only in January 1893). But Dvořákconducted the work a few days later, on 21 October, inhis first major concert in New York. Surprisingly, it wasnot published until 1896, after the composer’s return toEurope.

Dvořák set the Te Deum for soprano and baritonesoloists, four-part chorus and orchestra, dividing thetext into four continuous sections correspondingroughly to the four movements of a symphony. The G major orchestral opening, with its persistent timpanitriplets and short-breathed woodwind and stringphrases, has something of the simplicity and directnessof the Christmas pastorellas of rustic Bohemiantradition; but there is artifice here, too, in the canonbetween tenors and sopranos in the first choral entries.The dynamic level drops for the first time at ‘Sanctus,sanctus, sanctus’ – words which are immediately takenup by the solo soprano at the start of a slightly slowermiddle section, which is punctuated by woodwindinterjections of a new version of the violin figure at thestart of the work. There is a short, joyful reprise of theopening.

The E flat major ‘slow movement’ takes the form of arecitative for the solo bass, heralded and accompaniedby imposing brass fanfares, and a more lyrical aria, towhich the chorus adds the prayer ‘Te ergo quaesumus’as a refrain with a soaring violin descant. The B minor

PROGRAMME NOTES

TE DEUM, OP. 103 (B.176)

JANICE WATSON sopranoPETER ROSE bassLONDON PHILHARMONIC CHOIR

CELEBRATION AND COMMEMORATION

Antonín Dvořák was a man of strong and simple Catholicbelief, who told his friend and mentor Brahms that heread the Bible every day. His last sacred composition washis setting of the Te Deum, the hymn of praise of theearly church. It was written in 1892, shortly before hisdeparture for the United States, in the expectation (notin fact fulfilled) that it would be included in a New Yorkconcert celebrating the 400th anniversary of Columbus’s‘discovery’ of America. In accordance with the text and

the intended occasion, it is extrovert and for the mostpart joyfully celebratory. Fifteen years earlier, his firstmajor sacred work was the Stabat Mater, a setting of themediaeval prayer to the bereaved mother of the crucifiedChrist. This was apparently a personal response to thedeaths of his infant children, and it is predominantlyelegiac and devout in feeling. The two works thuscontrast sharply in purpose and tone. But they are unitedby Dvořák’s strong musical personality – though of thetwo it is the later, ‘American’ piece which is moreobviously indebted in its idiom to his native Bohemia.

AntonínDVOŘÁK

1841-1904



third movement echoes the symphonic scherzos ofBruckner in the way its choral phrases swing from key tokey over a regular accompaniment. The finale begins inB major with the solo soprano’s solemn prayer ‘Dignare,Domine’, supported by the chorus’s pleas of ‘Misererenostri, Domine’ – sung by the altos, and later thesopranos, to another version of the opening figure. This

same transformation recurs in the orchestralaccompaniment to the next section, in which thesoloists combine for the first time, to the non-liturgicaldoxology ‘Benedicamus Patrem…’, prompting choralshouts of ‘Alleluja’. Finally the initial key of G major isrestored, for a last jubilant orchestral reprise of theopening of the whole work.

PROGRAMME NOTES

1. Chorus (and soprano solo) Te Deum laudamus: Te Dominum confitemur.

Te aeternum Patrem omnis terra veneratur. Tibi omnes angeli et caeli et universae potestates:

Tibi cherubim et seraphim incessabli voce proclamant: Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra majestatis gloriae tuae. Te gloriosus apostolorum chorus. Te prophetarum laudabilis numerus, Te martyrum candidatus laudat exercitus. Te per orbem terrum sancta confitetur ecclesia.

Patrem immensae majestatis; Venerandum verum et unicum Filium; Sanctum quoque paraclitum spiritum.

2. Bass solo and chorus Tu rex gloriae, Christe. Tu patris sempiternus, Tu Patris et Filius. Tu, ad liberandum suscepturus hominem, non horruistivirginis uterum. Tu, devicto mortis aculeo, a peruisti credentibus regnacoelorum. Te ergo quaesumus, tuis famulis subveni, quos pretiososanguine redemisti. Tu ad dexteram Dei sedes in gloria Patris.

Judex crederis esse venturus.

3. ChorusAeterna fac cum Sanctis tuis in gloria numerari.

Salvum fac populum tuum, Domine et benedichereditati tuae. Et rege eos, et extole illos usque in aeternum. Per singulos dies benedicimus te; Et laudamus nomen tuum in saeculum. In saeculumsaeculi.

We praise thee, O God: we acknowledge thee to be theLord. All the earth doth worship thee: the Father everlasting. To thee all Angels cry aloud: the Heavens and all thePowers therein. To thee Cherubin and Seraphin continually do cry, Holy, Holy, Holy, Lord God of Sabaoth; Heaven and earth are full of the Majesty of thy Glory. The glorious company of the Apostles praise thee. The goodly fellowship of the Prophets praise thee. The noble army of Martyrs praise thee. The Holy Church throughout the world dothacknowledge thee; The Father of an infinite Majesty; Thine honourable, true, and only Son; Also the Holy Ghost, the Comforter.

Thou art the King of Glory, O Christ. Thou art the everlasting Son of the Father. When thou tookest upon thee to deliver man, thoudidst not abhor the Virgin’s womb. When thou hadst overcome the sharpness of death,thou didst open the Kingdom of Heaven to all believers. We therefore pray thee, help thy servants, whom thou hast redeemed with thy precious blood. Thou sittest at the right hand of God, in the glory of theFather. We believe that thou shalt come to be our Judge.

Make them to be numbered with thy Saints in gloryeverlasting. O Lord, save thy people, and bless thine heritage.

Govern them, and lift them up for ever. Day by day we magnify thee; And we worship thy Name, ever world without end.



PROGRAMME NOTES

INTERVAL 20 minutes

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

4. Soprano and bass solos and chorusDignare, Domine die isto sine peccato nos custodire. Miserere nostri, Domine. Fiat misericordia tua, Domine super nos,quemadmodum speravimus in te. In te, Domine, speravi: non confundar in aeternum.

Benedicamus Patrem, et Filium, cum Sancto Spiritu. Alleluja! Laudemus et superexaltemus eum in saecula.

Vouchsafe, O Lord, to keep us this day without sin. O Lord, have mercy upon us. O Lord, let thy mercy lighten upon us, as our trust is in thee. O Lord, in thee have I trusted; let me never beconfounded. We Bless the Father, Son and Holy Ghost. Alleluja! We praise them and exalt them forever.

Dvořák made a (now lost) setting of the Mass as astudent exercise; but apart from that his first sacredwork was his Stabat Mater, a setting of the mediaevalLatin prayer to the bereaved mother of the crucifiedChrist. It was drafted between February and May 1876,apparently as a delayed reaction to the death of theDvořáks’ daughter Josefa the previous September, twodays after her birth. Several other projects intervenedbefore Dvořák got down to the task of orchestrating thework, in October and November 1877 – by which timethe couple had also lost their second daughter, Růžena,who had died aged less than a year in August, and amonth later their only son, the three-year-old Otakar.

Having been written out of personal impulse ratherthan to a commission, the Stabat Mater had to wait

some time to be heard. It was eventually performed,rather unseasonably, two days before Christmas 1880,by the opera company of the Czech Provisional Theatrein Prague. The following year it was issued by theGerman publisher Simrock (to whom Dvořák’s mentorBrahms had recommended the young Czech’s music).And, once in print, it became one of the works whichmade Dvořák’s name known internationally. It receivedits first British performance in London under thepioneering choral conductor Joseph Barnby in March1883; and a year later Dvořák himself conducted it withgreat success in the Royal Albert Hall, on the first of hismany visits to England.

The sequence Stabat Mater, of 13th-century Franciscanorigin and long attributed to Jacopone da Todi (died

STABAT MATER, OP. 58 (B.71)

JANICE WATSON sopranoSARA FULGONI mezzo sopranoPETER AUTY tenorPETER ROSE bassLONDON PHILHARMONIC CHOIR

AntonínDVOŘÁK

1841-1904



PROGRAMME NOTES

1306), begins as a description of the Virgin Mary at thefoot of the Cross, and turns into a prayer to her for herintercession. Dvořák set it in its entirety, several timesgrouping a number of its three-line stanzas together toform a substantial self-contained movement, andrepeating passages of text freely to give eachmovement a strong formal outline. His scoring is forfour soloists, four-part chorus and orchestra; theinclusion of a part for organ (originally harmonium) inthe fourth movement suggests that he expected theinstrument to be used elsewhere in the work to supportthe chorus. The musical language is highly personal,with the generous writing for the woodwind sectionwhich was a hallmark of Dvořák’s orchestrationthroughout his career. There is little of the nationalistemphasis which later made itself felt in his music, butequally there are none of the strict fugues which at thetime were considered virtually obligatory in large-scalesacred works. The vocal lines seem to owe most to theoperas of Verdi, many of which Dvořák had encounteredas a young violist in the orchestra of the ProvisionalTheatre in Prague.

The work begins with its longest movement, a settingof the first four stanzas of the poem for chorus and allfour soloists, with an extended orchestral introductionand an overall A–B–A shape. In B minor, it begins withbare octave F sharps, perhaps symbolising the Crossitself (the German word for a sharp is ‘Kreuz’, ‘cross’),and continues with a sorrowing descending chromaticphrase which is to dominate the outer sections of themovement, usually associated with the opening words‘Stabat mater dolorosa’. ‘Quis est homo’, in E minor,similarly gathers four stanzas into a substantial A–B–Astructure, this time for the four soloists without thechorus; its outer sections are again dominated by theshort, expressive phrase to which the opening words areset.

The stanza in which description turns to prayer, ‘Eia,mater’, is set as a short, solemn chorus in C minor. Thefollowing movement, in B flat minor, alternatesbetween the bass soloist’s ‘Fac ut ardeat cor meum’,declamatory and then lyrical, and the chorus’sdevotional ‘Sancta mater’. ‘Tui nati’, in E flat major (thefirst major-key movement in the work), is set for chorusin a gently flowing 6/8 time, with a more agitated, andmore contrapuntal, middle section.

‘Fac me vere’, in B major, after its Brahmsianintroduction, is set for solo tenor and male chorus, inalternation and then in combination; the stanza ‘Juxtacrucem’ appears twice as brief, urgent contrast. ‘Virgo,virginum praeclara’, in A major, is a predominantly quietmovement for chorus alone, for much of the timeunaccompanied or discreetly supported by theorchestra. ‘Fac ut portem’, in D major, is a lyrical duet forsoprano and tenor. ‘Inflammatus’, in D minor, is an altosolo, beginning with the Handelian colouring of oboes,bassoons and strings and with a trudging Handelianbass line.

The setting of the final stanza reunites all four soloistswith the chorus. It begins in B minor with the octave F sharps of the opening of the whole work, but turnsdecisively to D major at the first choral climax; in thiskey, the descending motive of the first movementreappears, now consoling rather than sorrowing, and iseven incorporated into the fabric of the exuberant‘Amen’, the work’s one episode of sustainedcontrapuntal texture. After a blazing chordal passagefor unaccompanied chorus, the descending motivemakes its last appearances in the D major coda, a finalcalm affirmation of Dvořák’s abiding faith.

Programme notes by Anthony Burton © 2010


1. Chorus and Solo QuartetStabat mater dolorosaJuxta crucem lacrymosa,

Dum pendebat Filius.Cujus animam gementemContristantem et dolentem

Pertransivit gladius.O uam tristis et afflictaFuit illa benedicta

Mater Unigeniti;Quae moerebat et dolebatEt tremebat, cum videbat

Nati poenas inclyti.

2. Solo QuartetQuis est homo qui non fleretChristi matrem si videret

In tanto supplicio?Quis non posset contristariPiam matrem contemplari

Dolentem cum Filio?Pro peccatis suae gentisVidit Jesum in tormentis

Et flagellis subditum.Vicit suum dulcem natumMoriendo desolatum

Dum emisit spiritum.

3. ChorusEia, mater, fons amoris,Me sentire vim doloris

Fac, ut tecum lugeam.

4. Bass solo and ChorusFac ut ardeat cor meumIn amando Christum Deum

Ut sibi complaceam.Sancta mater, istud agas,Crucifixi fige plagas

Corde meo valide.

5. ChorusTui nati vulneratiTam dignati pro me pati

Poenas mecum divide.

The sad mother was standingtearful beside the cross

while her Son was hanging.Her grieving soulheavy with sadness and pain

a sword pierced.O how unhappy and burdened with sorrowwas that blessed

mother of the only begotten One;Who mourned and sufferedand trembled as she saw

the agonies of her glorious Son.

Who is the man who would not weepif he saw the mother of Christ

in such affliction?Who could fail to feel compassionseeing the dear mother

suffering with her Son?For the sins of His peopleshe saw Jesus in torment

and lashed by whips.She saw her dear Sondying in desolation

as He gave up His soul.

O mother, fount of love,make me feel the strength of thy grief

that I may lament with thee.

Make my heart blazewith love of Christ the Lord

that I may be pleasing to Him.O holy mother, bring that to pass,plant the wounds of the Crucified One

deep in my heart.

Of thy wounded Sonwho so greatly deigned to suffer for me

share the pains with me.

PROGRAMME NOTES



6. Tenor solo and ChorusFac me vere tacum flereCrucifixo condolere

Donec ego vixero.Juxta crucem tecum stareTe libenter sociare

In planctu desidero.

7. ChorusVirgo, virginum praeclara,Mihi jam non sis amara

Fac me tecum plangere.

8. Soprano and Tenor DuetFac ut portem Christi mortem,Passionis fac consortem,

Et plagas recolere.Fac me plagis vulnerari,Cruce hac inebriari,

Ob amorem Filii.

9. Mezzo soprano soloInflammatus et accensusPer te, Virgo, sim defensus

In die judicii.Fac me cruce custodiri,Morte Christi praemuniri,

Confoveri gratia.

10. Soloists and ChorusQuando corpus morietur,Fac ut animas donetur

Paradisi gloria.

Amen.

Make me truly weep with theeand share the Crucified One’s suffering

as long as I shall live.To stand beside the cross with youand gladly to share

your desolation is my desire.

Virgin, noblest of virgins,do not be cruel to me now,

make me share thy desolation.

Make me bear the death of Christ,make me a companion of His passion,

and feel His wounds again.Make me be wounded with His woundsand swoon beneath this cross

for love of thy Son.

When I am ablaze and consumed with fireO Virgin, let me be protected by you

in the day of judgment.Let me be guarded by the cross,protected by the death of Christ

and cherished by His grace.

When the body shall die,may my soul be given

the glory of Paradise.

Amen.

PROGRAMME NOTES


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



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-0042 Neeme Järvi conducts Dvořák’s Requiem

‘Neeme Järvi leads a sturdy, evocative performance graced by gorgeous singingfrom the London Philharmonic Choir.’JOSHUA KOSMAN, SAN FRANCISCO CHRONICLE, 7 MARCH 2010

LPO-0045 Yannick Nézet-Séguin conducts Brahms’s German Requiem

‘A German Requiem that doesn’t rush and achieves a remarkable inwardness... I found so many things to enjoy about this recording that I didn’t begrudgea single minute of the time spent to savour them.’PETER QUANTRILL, GRAMOPHONE, AUGUST 2010

LPO-0048 Jesús López-Cobos conducts Verdi’s Requiem with Margaret Price,Livia Budai, Giuseppe Giacomini, Robert Lloyd and the London PhilharmonicChoir

‘Jesús López-Cobos conducts a splendidly dramatic account of the score andthe LPO Choir raise the roof.’HUGH CANNING, THE SUNDAY TIMES, 5 SEPTEMBER 2010

LPO-0029 Kurt Masur conducts Schubert’s Unfinished Symphony andJanáček’s Glagolitic Mass

‘this awesomely muscular, vital account of Janáček’s Glagolitic (or Czech)Mass’ RICK JONES, TIMES KNOWLEDGE, 8 SEPTEMBER 2007



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 hasended

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

SOUTHBANK CENTRE

The Mozart QuestionSunday 5 December 2010 | 3.30pmRoyal Festival HallAn afternoon of music and storytelling,suitable for children aged 8 and over,based on Michael Morpurgo’s well-lovedbook which tells of one family’s experienceof the holocaust and the incrediblehealing power of music.

Vladimir Jurowski conductorDaniel Pioro violinMichael Morpurgo narratorAlison Reid narratorSimon Reade director

Excerpts from:Beethoven Violin ConcertoVivaldi The Four SeasonsStrauss The Blue DanubeBach Violin Sonata No. 1Mozart Eine kleine Nachtmusik

Running time 75 minutes. No interval.

TicketsUnder 16: £7 £9 Adult: £14 £18For booking details see page 20.

Dedicated by the Dorset Foundation in memory of the lateHarry M. Weinrebe and supported by a syndicate ofindividual donors.



Corporate MembersAppleyard & Trew llpAREVA UKBritish 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

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 FoundationMaurice Marks Charitable TrustThe Michael Marks Charitable TrustMarsh Christian TrustUK 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

FoundationThe Swan TrustJohn Thaw FoundationThe 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 Ellen

Commander Vincent EvansMr Daniel GoldsteinMrs Barbara GreenOliver 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 Edgecombe

Mr Richard FernyhoughKen 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

The Bridge Project

At a pre-concert event at 6pm on 13 October in theRoyal Festival Hall over one hundred young violinistsfrom the Bridge Project will come together withmusicians from the London Philharmonic Orchestra,Royal College of Music and Foyle Future Firsts toperform an exciting repertoire of specially arrangedpieces. Aged 5-7, the children made their debut withthe London Philharmonic Orchestra at the Royal FestivalHall at a Schools Concert in June and return toshowcase their fantastic violin playing.

The Bridge Project is the music education programmeprovided by London Music Masters, a registered charitywhich aims to open doors for young children whomight not otherwise have the opportunity to engage inclassical music.

London Music Masters Awards

The charity also administers the LMM Awards whichare given every three years to three exceptionalviolinists between the ages of 18 and 28 and offersthem generous financial and career support. AgataSzymczewska, the soloist in the evening concert on13 October received one of these awards in 2009 and

will be part of the scheme up until 2012. She will beperforming the Mendelssohn Violin Concerto at theRoyal Festival Hall on 13 October.

2011 International Conductors’ Academy of the AllianzCultural Foundation

Another project that offers support to young musiciansis the International Conductors’ Academy, which hasbeen running since 2003. An annual initiative of theAllianz Cultural Foundation in partnership with theLondon Philharmonic Orchestra, PhilharmoniaOrchestra and Southbank Centre, it offers intensivementoring and training with the Orchestras and theirconductors to three gifted young conductors. Previousparticipants have included Gustavo Dudamel, who wasappointed Music Director of the Los Angeles SymphonyOrchestra in 2009, and more recently last year’sgraduate, Anna-Maria Helsing, who has beenappointed Artistic Director of the Oulu SymphonyOrchestra.

The three conductors selected to participate in the2011 academy are Yordan Kamdzhalov from Bulgaria,Arturo Alvardo from Peru and Darrell Ang fromSingapore.

The participants will work with the LondonPhilharmonic Orchestra and Philharmonia Orchestraunder the tutelage of conductors including VladimirJurowski and Esa-Pekka Salonen. They will also attendthe Orchestras’ rehearsals and concerts in London andon tour and will jointly conduct a subscription seriesconcert with the Philharmonia Orchestra on 13 October2011.

‘The quality of applicants this year has been extremelyhigh, which is testament to the stature that the AllianzConductors’ Academy has achieved over the years’,commented Tim Walker, Chief Executive and ArtisticDirector of the London Philharmonic Orchestra. ‘Themany invaluable experiences these musicians will have,both on and off the podium, will assist them in theiraspirations to become major artistic figures of thefuture. We are indebted to the Allianz CulturalFoundation for their vital support of such a deservingscheme.’

Children from the Bridge Project playing with theLondon Philharmonic Orchestra at the Royal Festival Hallas part of a Schools Concert in June this year.



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

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

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CONCERT MANAGEMENT

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Ruth SansomArtistic Administrator

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Alison JonesConcerts Co-ordinator

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Jo OrrPA to the Executive / Concerts Assistant

Matthew FreemanRecordings Consultant

EDUCATION ANDCOMMUNITY PROGRAMME

Matthew ToddEducation and Community Director

Anne FindlayEducation Officer

Isobel TimmsCommunity Officer

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Richard MallettEducation and Community Producer

ORCHESTRA PERSONNEL

Andrew CheneryOrchestra Personnel Manager

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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

MARKETING

Kath TroutMarketing Director

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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.

Photograph of Dvořákcourtesy of the Royal Collegeof Music, Loncon.

Photograph on the front cover by Pip Eastop.

Programmes printed by Cantate.

†Supported by Macquarie Group



FUTURE CONCERTSAT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

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.

JTI FRIDAY SERIESFriday 15 October 2010 | 7.30pm

Berlioz Overture, Benvenuto CelliniElgar Cello ConcertoR Strauss Ein Heldenleben

David Zinman conductorTruls Mørk cello

Saturday 23 October 2010 | 7.00pm

Rossini Aureliano in Palmira

Concert performance given in association with Opera Rara.Sung in Italian with English surtitles. The performance will lastapproximately 2 hours 45 minutes including interval.

Maurizio Benini conductorCatriona Smith ZenobiaSilvia Tro Santafé ArsaceKenneth Tarver AurelianoAndrew Foster-Williams Gran Sacerdote

Ezgi Kutlu PubliaVuyani Mlinde LicinioGeoffrey Mitchell Choir

Supported by the John S Cohen Foundation.

6.00pm–6.30pm | FREE Pre-Concert EventRoyal Festival HallOpera Rara continues its exploration of lesser knownoperas with a discussion around Rossini’s Aureliano inPalmira.

MAHLER ANNIVERSARYWednesday 27 October 2010 | 7.30pm

Mendelssohn Symphony No. 5 (Reformation)Mahler KindertotenliederBrahms Symphony No. 3

Vladimir Jurowski conductorSarah Connolly mezzo soprano

6.00pm–6.45pm | FREE Pre-Concert EventRoyal Festival HallA performance including Arvo Pärt’s L’abbé Agathon withsoloists from the London Philharmonic Orchestraconducted by Vladimir Jurowski.

TO BOOKTickets £9-£38 | Premium seats £55

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

Osmo Vänskä andAgata Szymczewska

Maurizio Benini andCatriona Smith

David Zinman andTruls Mørk

Vladimir Jurowskiand Sarah Connolly


lpo programme notes - 9 october

Documents

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intervaldvokstabat mater

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