Principal Conductor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader PIETER SCHOEMAN Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM† PROGRAMME £3 CONTENTS 2 Southbank Centre / Leader 3 List of players 4 About the Orchestra 5 Sir Mark Elder 6 Ryan Wigglesworth 7 Roderick Williams 8 London Philharmonic Choir 9 Programme notes and texts 15 News 16 Annual Appeal 2011/12 17 Supporters 18 Recordings 19 Next concerts 20 LPO administration The timings shown are not precise and are given only as a guide. * supported by the Tsukanov Family † supported by Macquarie Group CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Saturday 24 March 2012 | 7.30pm SIR MARK ELDER conductor RYAN WIGGLESWORTH conductor (The Discovery of Heaven) RODERICK WILLIAMS baritone LONDON PHILHARMONIC CHOIR JULIAN ANDERSON The Discovery of Heaven (world première)** (17’) DELIUS Sea Drift, for baritone solo, chorus and orchestra‡ (25’) Interval ELGAR Symphony No. 1 in A-flat major, Op. 55 (52’) Barlines free post-concert discussion The Clore Ballroom at Royal Festival Hall Conductor Ryan Wigglesworth and Composer in Residence Julian Anderson discuss The Discovery of Heaven. ** Commissioned by the London Philharmonic Orchestra with kind support from The Boltini Trust and the Britten-Pears Foundation, and the New York Philharmonic (Alan Gilbert, Music Director). ‡ Performance generously supported by The Delius Trust.
Transcript
Principal Conductor VLADIMIR JUROWSKI*Principal Guest Conductor YANNICK NÉZET-SÉGUINLeader pIETER SChOEMANComposer in Residence JULIAN ANDERSONPatron hRh ThE DUKE OF KENT KG
Chief Executive and Artistic Director TIMOThY WALKER AM†
pROGRAMME £3
CONTENTS 2 Southbank Centre / Leader 3 List of players4 About the Orchestra 5 Sir Mark Elder6 Ryan Wigglesworth7 Roderick Williams8 London Philharmonic Choir9 Programme notes and texts15 News16 Annual Appeal 2011/1217 Supporters18 Recordings19 Next concerts20 LPO administration The timings shown are not precise
and are given only as a guide.
* supported by the Tsukanov Family † supported by Macquarie Group
CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
SOUThBANK CENTRE’S ROYAL FESTIVAL hALLSaturday 24 March 2012 | 7.30pm
SIR MARK ELDER conductorRYAN WIGGLESWORTh conductor (The Discovery of Heaven)RODERICK WILLIAMS baritoneLONDON phILhARMONIC ChOIR
JULIAN ANDERSONThe Discovery of Heaven (world première)** (17’)
DELIUS Sea Drift, for baritone solo, chorus and orchestra‡ (25’)
Interval
ELGAR Symphony No. 1 in A-flat major, Op. 55 (52’)
Barlines free post-concert discussionThe Clore Ballroom at Royal Festival hall
Conductor Ryan Wigglesworth and Composer in Residence Julian Anderson discuss The Discovery of Heaven.
** Commissioned by the London Philharmonic Orchestra with kind support from The Boltini Trust and the Britten-Pears Foundation, and the New York Philharmonic (Alan Gilbert, Music Director).
‡ Performance generously supported by The Delius Trust.
Pieter Schoeman joined the London Philharmonic Orchestra as Co-Leader in 2002, and was appointed Leader in 2008.
Born in South Africa, he made his solo début aged 10 with the Cape Town Symphony
Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.
Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall.
As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.
In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has performed frequently as Guest Leader with the symphony orchestras of Barcelona, Bordeaux, Lyon and Baltimore, as well as with the BBC Symphony Orchestra.
Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance.
pIETER SChOEMANLEADER
WELCOME TO SOUThBANK CENTRE
We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance.
Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery.
If you wish to get in touch with us following your visit please contact Kenelm Robert, our Head of Customer Relations, at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250 or email [email protected] We look forward to seeing you again soon.
A few points to note for your comfort and enjoyment:
phOTOGRAphY is not allowed in the auditorium.
LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance.
RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.
MOBILES, pAGERS AND WATChES should be switched off before the performance begins.
WELCOME
London Philharmonic Orchestra | 3
First ViolinsPieter Schoeman* LeaderVesselin Gellev Sub-Leader
* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco
LONDON phILhARMONIC ORChESTRA
Chair Supporters
The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert:
The Sharp Family
4 | London Philharmonic Orchestra
The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most adventurous and forward-looking orchestras. As well as performing classical concerts, the Orchestra also records film and computer game soundtracks, has its own record label, and reaches thousands of Londoners every year through activities for schools and local communities.
The Orchestra was founded by Sir Thomas Beecham in 1932, and since then has been headed by many of the great names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Russian Vladimir Jurowski, appointed in 2007, with French-Canadian Yannick Nézet-Séguin as Principal Guest Conductor.
The Orchestra is based at Royal Festival Hall in London’s Southbank Centre, where it has performed since it opened in 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. Concert highlights in 2011/12 include a three-week festival celebrating the music of Prokofiev, concerts with artists including Sir Mark Elder, Marin Alsop, Renée Fleming, Stephen Hough and Joshua Bell, and several premières of works by living composers including the Orchestra’s Composer in Residence, Julian Anderson. In addition to its London concerts, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency accompanying the famous Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra since 1964.
The London Philharmonic Orchestra tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first-ever visit to China by a Western orchestra. Touring remains a big part of the Orchestra’s life: tours in the 2011/12 season include visits to Belgium, Switzerland, Germany, the US, Spain, China, Russia, Oman, Brazil and France.
You may well have heard the London Philharmonic Orchestra on film soundtrack recordings: it has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, Philadelphia, East is East and Hugo. The Orchestra also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 60 releases on the label, which are available on CD and to download. Recent additions include Dvořák’s Symphonic Variations and Symphony No. 8 conducted by Sir Charles Mackerras; Holst’s The Planets conducted by Vladimir Jurowski; Shostakovich Piano Concertos with Martin Helmchen under Vladimir Jurowski; and Sibelius’s Symphony No. 5 and Lutosławski’s Concerto for Orchestra under Jukka-Pekka Saraste. The Orchestra was also recently honoured with the commission to record all 205 of the world’s national anthems for the London 2012 Olympics Team Welcome Ceremonies and Medal Ceremonies.
To help maintain its high standards and diverse workload, the Orchestra is committed to the welfare of its musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark.
The London Philharmonic Orchestra maintains an energetic programme of activities for young people and local communities. Highlights include the ever-popular family and schools concerts, fusion ensemble The Band, the Leverhulme Young Composers project and the Foyle Future Firsts orchestral training scheme for outstanding young players. Over the last few years, developments in technology and social networks have enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel, news blog, iPhone app and regular podcasts, the Orchestra has a lively Twitter presence.
Sir Mark Elder has been Music Director of the Hallé since September 2000. He was Music Director of English National Opera from 1979–93, Principal Guest Conductor of the City of Birmingham Symphony Orchestra
from 1992–95, and Music Director of the Rochester Philharmonic Orchestra in the USA from 1989–94. He has also held positions as Principal Guest Conductor of the BBC Symphony Orchestra and the London Mozart Players.
He has worked with many of the world’s leading symphony orchestras including the Orchestre de Paris; the Royal Concertgebouw Orchestra; the Berlin and Munich Philharmonic orchestras; and the London, Chicago and Boston symphony orchestras. In the UK he enjoys close associations with both the London Philharmonic Orchestra and the Orchestra of the Age of Enlightenment. Sir Mark Elder has appeared annually at the BBC Proms in London for many years, including, in 1987 and 2006, the internationally televised Last Night of the Proms.
He works regularly in the most prominent international opera houses including the Royal Opera House, Covent Garden; Metropolitan Opera, New York; Opéra National de Paris; Lyric Opera, Chicago; Bayerische Staatsoper, Munich; and Glyndebourne Festival Opera. Other guest engagements have taken him to the Bayreuth Festival (where he was the first English conductor to conduct a new production), Amsterdam, Zürich, Geneva, Berlin and Sydney.
During his years at English National Opera, Sir Mark Elder brought international acclaim to the company for its work in London, as well as leading tours to the USA (including the Metropolitan Opera in New York) and Russia (including the Bolshoi in Moscow and the Mariinsky in St Petersburg).
Sir Mark Elder has made many recordings with orchestras including the Hallé; the London Philharmonic and Rochester Philharmonic orchestras;
SIR MARK ELDERCONDUCTOR
the BBC and City of Birmingham symphony orchestras; the Orchestra of the Age of Enlightenment; and the Orchestra of the Royal Opera House; as well as with English National Opera. In 2003 the Hallé launched its own CD label and releases have met with universal critical acclaim, culminating in Gramophone Awards for The Dream of Gerontius in 2009, and Götterdämmerung and Elgar’s Violin Concerto in 2010. In collaboration with the director Barrie Gavin, Elder made a two-part film on the life and music of Verdi for BBC Television in 1994, which was followed by a similar project on Donizetti for German television in 1996. In November 2011 he co-presented BBC Television’s four-part series Symphony.
Recent opera recordings include Donizetti’s Dom Sebastien, Imelda di Lambertazzi, Linda di Chamounix and most recently Maria di Rohan for Opera Rara. In April 2011 he took up the position of Artistic Director of Opera Rara, with whom he is planning several recording projects over the next five years. As well as his commitment to the Hallé, recent and forthcoming symphonic engagements include the London, Boston, Chicago and Gothenburg symphony orchestras; the Berlin, Munich, Netherlands Radio, Rotterdam, China and Seoul Philharmonic orchestras; the Royal Concertgebouw, Budapest Festival and Russian National orchestras; the Tonhalle-Orchester Zurich; and the Gürzenich Orchester, as well as the Australian Youth Orchestra, Britten Sinfonia, Aldeburgh World Orchestra, Cambridge University Music Society and the Orchestra of the Age of Enlightenment.
Recent and future operatic engagements include King Roger at the Bregenz Festival, Tannhäuser at the Opéra National de Paris, Billy Budd for Glyndebourne Festival Opera, Wonderful Town with the Hallé and several productions for Covent Garden, including The Tsar’s Bride, Fidelio and La bohème.
Sir Mark Elder was knighted in 2008, and was awarded the CBE in 1989. He won an Olivier Award in 1991 for his outstanding work at English National Opera and in May 2006 he was named Conductor of the Year by the Royal Philharmonic Society. He was appointed Principal Artist of the Orchestra of the Age of Enlightenment and awarded Honorary Membership of the Royal Philharmonic Society in 2011.
Still only in his early thirties, Ryan Wigglesworth has rapidly established himself as one of the foremost composer-conductors of his generation. Equally at home and much sought-after in a wide-ranging
repertoire from the Baroque to the present day (he has conducted over 40 premières), his own compositions have likewise received consistent critical acclaim. His orchestral song-cycle Augenlieder, first performed under the composer’s direction at the Barbican in 2009 with the BBC Symphony Orchestra, won the Vocal prize at the 2010 British Composer Awards.
In 2011/12 Ryan Wigglesworth is Composer in Residence with the Netherlands Philharmonic and Chamber orchestras. Last month the Chamber Orchestra gave the world première of a new violin concerto written by Wigglesworth for Gordan Nikolić, with the composer as pianist/director. Last season saw Wigglesworth direct two operas: the première of Alexander Goehr’s Promised End with English Touring Opera at the Royal Opera House, and Eugene Onegin at the St Endellion Summer Festival, to which he returns as Co-Artistic Director in 2012. His début concerts with the Royal Liverpool Philharmonic Orchestra in 2010 resulted in an immediate reinvitation. The programmes featured Mozart’s Piano Concerto No. 17 with Wigglesworth as pianist/director, as well as the world première of his own work A First Book of Inventions.
This season Ryan Wigglesworth makes his conducting début at English National Opera with Detlev Glanert’s Caligula (May 2012). With Britten Sinfonia he conducts the opening of the 2012 Aldeburgh Festival in an Oliver Knussen double-bill: Higglety Pigglety Pop! and Where the Wild Things Are. His Deutsches Symphonie-Orchester début follows at the Berlin Philharmonie. Tonight’s concert is his début with the London Philharmonic Orchestra, and he will return next season to conduct a programme of Vaughan Williams and Tippett at Royal Festival Hall on 1 May 2013.
RYAN WIGGLESWORThCONDUCTOR
Wigglesworth’s recent compositions include a triptych of works for the BBC Symphony Orchestra: Sternenfall (2007); The Genesis of Secrecy, commissioned for the 2009 BBC Proms and premièred by Sir Andrew Davis; and the aforementioned orchestral song-cycle Augenlieder. Future projects include a monodrama for tenor Mark Padmore and ensemble; a Piano Quintet commissioned by BBC Radio 3; and a choral work for the Rundfunkchor Berlin. Last year’s release (on the NMC label) of Harrison Birtwistle works conducted by Ryan Wigglesworth with the Hallé Orchestra has received high praise. The Guardian commented: ‘Ryan Wigglesworth’s performances with the Hallé are quite superb, with the intricacies of Birtwistle’s instrumental writing always perfectly clear.’ Born in Yorkshire, Ryan studied at Oxford University and the Guildhall School of Music & Drama. From 2007–9 he was a Lecturer at Cambridge University and a Fellow of Corpus Christi College. His compositions are published by Schott Music.
Roderick Williams is active in the opera house, on the concert platform and in recital, encompassing a repertoire from the Baroque to world premières.
He has enjoyed close associations with
Opera North and Scottish Opera, and has also worked for English National Opera singing Papageno in The Magic Flute and the Royal Opera House, Covent Garden, singing Schaunard in La bohème. For Opera North his roles have included the title role in Don Giovanni, the Count in The Marriage of Figaro, Guglielmo in Così fan tutte, Figaro in The Barber of Seville and Ned Keene in Peter Grimes. Roles for Scottish Opera have included Marcello in La bohème and Lord Byron in the world première of Sally Beamish’s Monster. Other notable world premières have included David Sawer’s From Morning to Midnight, Martin Butler’s A Better Place for English National Opera, Alexander Knaifel’s Alice in Wonderland and Michel van der Aa’s After Life for Netherlands Opera. He also sang the title role in Robert Saxton’s The Wandering Jew. Most recently he returned to English National Opera to sing Jaufre Rudel in Saariaho’s L’amour de loin, Figaro in The Barber of Seville for Florida Grand Opera, and Olivier in Capriccio for Grange Park Opera.
Among Roderick Williams’s many performances of opera in concert are recent appearances with the BBC Symphony Orchestra in Tippett’s The Knot Garden and Harrison Birtwistle’s The Second Mrs Kong, and with the London Symphony Orchestra and Daniel Harding in Billy Budd. He has also sung the role of Eddie in Mark-Anthony Turnage’s Greek for the BBC. He has taken major roles in Richard Hickox’s semi-staged performances of opera, including Britten’s Gloriana, Walton’s Troilus and Cressida and most of the Vaughan Williams operas. Other concert performances include Henze, Strauss, Stravinsky and Wagner.
Roderick Williams has sung concert repertoire with all the BBC orchestras and many other ensembles including the Royal Scottish National Orchestra, Bournemouth Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Russian National Orchestra, Academy of Ancient
RODERICK WILLIAMSBARITONE
Music, The Sixteen, Le Concert Spirituel, and Bamberg Symphony Orchestra. Recent successes include Britten’s War Requiem and Pilgrim in Vaughan Williams’s The Pilgrim’s Progress (semi-staged) with the Philharmonia; Jesus in The Last Supper by Harrison Birtwistle with the London Sinfonietta in Milan and Turin; Elgar’s The Dream of Gerontius in Toulouse; a European tour of Handel’s Messiah with RIAS Kammerchor; Tippett’s The Vision of St Augustine with the BBC National Orchestra of Wales at the 2005 BBC Proms; Henze’s Elegy for Young Lovers with the Orchestre Philharmonique de Radio France; the world première of Birtwistle’s The Ring Dance of the Nazarene with VARA Radio (repeated at the BBC Proms); performances of Lieder eines fahrenden Gesellen at La Scala, Milan; and concerts with the Philharmonia Baroque Orchestra in San Francisco and Bach Collegium Japan at the Edinburgh Festival. He performed with the City of London Sinfonia at the 2011 BBC Proms.
Recent and future operatic engagements include the Count in The Marriage of Figaro for Scottish Opera, Ned Keene in Peter Grimes at the Royal Opera House, Goryanchikov in From the House of the Dead for Opera North, and Pollux in Rameau’s Castor and Pollux for English National Opera. Concert appearances include performances with Le Concert Spirituel, Royal Liverpool Philharmonic Orchestra, Manchester Camerata, BBC National Orchestra of Wales, the Hallé, Britten Sinfonia, King’s College Cambridge, the Ensemble Orchestral de Paris, Basque National Orchestra, Netherlands Chamber Orchestra, Bach Collegium Japan and Pax Christi Chorale in Toronto, as well as the Britten War Requiem with the Maggio Musicale and Semyon Bychkov in Florence and the UK première of Jonathan Harvey’s Wagner Dream with the BBC Symphony Orchestra.
Roderick is also an accomplished recital artist who can be heard at venues and festivals including Wigmore Hall; the Perth Concert Hall; the Howard Assembly Room; the Musikverein, Vienna; and on BBC Radio 3, where he has participated on Iain Burnside’s Voices programme.
His numerous recordings include Vaughan Williams, Berkeley and Britten operas for Chandos; Verdi’s Don Carlos (conducted by Bernard Haitink) for Philips; and an extensive repertoire of English song with pianist Iain Burnside for Naxos. Roderick Williams is also a composer and has had works premièred at Wigmore Hall, the Barbican, the Purcell Room and live on national radio.
8 | London Philharmonic Orchestra
pATRON HRH Princess Alexandra | pRESIDENT Sir Roger Norrington | ARTISTIC DIRECTOR Neville Creed ACCOMpANIST Jonathan Beatty | ChAIRMAN Mary Moore | ChOIR MANAGER Kevin Darnell
LONDON phILhARMONIC ChOIR
Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors throughout the last 65 years and made numerous recordings for CD, radio and television. Its Artistic Director is Neville Creed.
Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. In 2010/11, engagements included Mahler’s Symphony No. 3 and Das klagende Lied, Bartók’s The Miraculous Mandarin, Dvořák’s Te Deum and Stabat Mater, Fauré’s Requiem, Holst’s The Planets and Elgar’s The Dream of Gerontius. This season, concerts with the LPO have included Scriabin’s Prometheus, Poem of Fire, Prokofiev’s Ivan the Terrible, Bruckner’s Te Deum, Szymanowski’s Symphony No. 3 and Zemlinsky’s Psalm 23.
Recently released CDs with the London Philharmonic Orchestra include Dvořák’s Requiem conducted by Neeme Järvi, Brahms’s Ein deutsches Requiem with Yannick Nézet-Séguin and Holst’s The Planets, Mahler’s Symphony No. 2, Haydn’s The Seven Last Words of our Saviour on the Cross and Honegger’s Une Cantate de Noël under Vladimir Jurowski.
Appearing regularly at the BBC Proms at the Royal Albert Hall, the Choir’s performances have included Beethoven’s Symphony No. 9, Elgar’s The Dream of Gerontius, Rachmaninov’s The Bells and the UK premières of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir performed at the Doctor Who Proms in 2008 and 2010, and in 2011 appeared in Verdi’s Requiem, Liszt’s A Faust Symphony and Beethoven’s Missa Solemnis.
The Choir works with other leading orchestras, has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. The Choir will appear at Le Touquet International Music Masters Festival in France in April 2012. Last May it joined forces with the London Symphony Chorus to perform Walton’s Belshazzar’s Feast with the Royal Philharmonic Orchestra under Andrew Litton, and in December sang Messiah with the Mozart Festival Orchestra under Oliver Gooch. The Choir also sings in Raymond Gubbay’s Classical Spectacular and Christmas concerts, and has appeared in galas with Russell Watson and Katherine Jenkins.
The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit www.lpc.org.uk
Sopranos Catherine Allum, Annette Argent, Harriet Carey, Olivia Carter, Paula Chessell, Alana Clark, Emily Clarke, Sally Cottam, Sheila Cox, Hannah Dart, Sarah Deane-Cutler, Lucy Doig, Sally Donegani, Philippa Drinkwater, Astrid Dupuis, Rosha Fitzhowle, Alison Flood, Claudie Gheno, Rachel Gibbon, Elisabeth Giselbrecht, Emily Grey, Jane Hanson, Sally Harrison, Carolyn Hayman, Elizabeth Hicks, Laura Hunt, Georgina Kaim, Jenni Kilvert, Olivia Knibbs, Ilona Kratochvilova, Frances Lake, Clare Lovett, Janey Maxwell, Marj McDaid, Natalie Millet, Felicity Mowat, Alexia Prakas, Alice Pugh, Rebecca Schendal, Sarah C. Skinner, Victoria Smith, Claire Spencer, Louisa Sullivan, Tracey Swagrzak, Susan Thomas, Isobel Timms, Agnes Tisza
Altos Jenny Adam, Joanna Arnold, Deirdre Ashton, Phye Bell, Sally Brien, Andrei Caracoti, Lara Carim, Isabelle Cheetham, Noel Chow, Yvonne Cohen, Liz Cole, Alice Conway, Janik Dale, Margaret de Valois Rowney, Moira Duckworth, Andrea Easey, Lynn Eaton, Regina Frank, Kathryn Gilfoy, Sophy Holland, Andrea Lane, Claire Lawrence, Lisa MacDonald, Mary Moore, Sophie Morrison,
Tenors Scott Addison, David Aldred, Geir Andreassen, Chris Beynon, Tom Cameron, Lorne Cuthbert, Kevin Darnell, Michael Delany, Oliver Firth, Colin Fleming, Lucas Souza Gomes, Robbie Gordy, Josh Haley, Iain Handyside, Stephen Hodges, Patrick Hughes, John Moses, Rhydian Peters, Filipe Salvador, Owen Toller, Tony Wren
Basses Jonathon Bird, Gordon Buky-Webster, Adam Bunzl, Geoff Clare, David Clark, Phillip Dangerfield, Marcus Daniels, Ian Frost, Paul Gittens, Nigel Grieve, Martin Harvey, Mark Hillier, Stephen Hines, David Hodgson, Rylan Holey, Steve Kirby, John Luff, Will Parsons, Johan Pieters, Tony Piper, David Regan, Kevin Sebastian, Christopher Short, Daniel Snowman, Peter Sollich, Peter Taylor, Alex Thomas, Hin-Yan Wong, John Wood
London Philharmonic Orchestra | 9
pROGRAMME NOTES
Delius’s luxurious nostalgia, Elgar’s romantic turbulence and ‘massive hope’ and Julian Anderson’s contrast of ancient Far-Eastern serenity and modern urban restlessness seem at first to come from different worlds. Yet all three works have one big thing in common. In each something ideal – beautiful, desirable, somewhat otherworldly – is contrasted with a world of struggle and pain. In Anderson’s The Discovery of Heaven, Japanese-influenced sounds convey ‘An Echo from Heaven’, but the next section,
‘In the Street’, conveys dissonance and chaos. Can the finale, ‘Hymns’, provide resolution? The answer appears to be yes, and no. Delius’s Sea Drift portrays ideal love, and then, devastatingly, its loss. Again the music strives for reconciliation, but seems ultimately to despair. Elgar’s First Symphony begins and ends with a memorable tune depicting ‘glad confidence’ and love, but between these affirmations comes a powerful exploration of doubt and longing. Plenty to delight and uplift here, but also to challenge.
Speedread
Commissioned by the London Philharmonic Orchestra with kind support from The Boltini Trust and the Britten-Pears Foundation, and the New York Philharmonic (Alan Gilbert, Music Director).
The Discovery of Heaven is an orchestral work in three parts lasting about 17 minutes; Parts 2 and 3 are played without a break. Although it is an abstract work, there were two extra-musical starting points: the novel of the same name by Dutch writer Harry Mulisch; and the ancient Japanese court music known as gagaku, in particular the best-known piece in gagaku repertoire called Etenraku – which literally means ‘music coming from heaven’. Harry Mulisch’s novel is a wild, almost out-of-control epic of a book. What attracted me to it was the vast scope of its narrative, its ability to move suddenly from a panoramic view of time to quite specific real events, some from recent history. Meanwhile, elements from gagaku influenced my textures and harmonies – especially the glistening sound of high, clustered chords in doubled multiple octaves on the Japanese sho mouth organ, which floats above most
gagaku like an image of heaven. These factors affected my piece but the music is not in any way a programmatic illustration of the novel, nor is it an attempt to imitate gagaku. It must stand on its own terms.
Part 1: An Echo from Heaven. This music comprises mainly very short or very long notes, with little between these two extremes. The flutes are prominent, often playing breathy or gliding sounds. Repeated, glisteningly high chords on wind, string harmonics and sometimes bells evoke the sound of the Japanese sho mouth organ, with its multiple octaves. Various harmonies are explored, with a sudden brief confrontation between them near the end. The texture thins drastically at the conclusion.
Part 2: In the Street might perhaps evoke the sensations experienced whilst walking a busy street in a modern metropolis – Paris or Amsterdam, passing by buskers, shoppers, pamphleteers, poets, dancers, protesters, etc., all vying for our attention. The melodies, harmonies, sounds and rhythms range from delicate and refined
JulianANDERSON
Born 1967
ThE DISCOVERY OF hEAVEN (world première)
Part 1: An Echo from HeavenPart 2: In the Street –Part 3: Hymns
10 | London Philharmonic Orchestra
Nowadays most people think of Delius as an English composer – too ‘English’ perhaps for continental tastes. But although Delius was born in England (in Bradford) he was of German extraction, and very little of his adult life was spent in this country. In fact he was a success in Germany long before British audiences began to take to him – and then only after long and devoted championship by the conductor Thomas Beecham. And it was with Sea Drift that Delius first made his mark in central Europe. Its first performance in Essen in 1906 was a huge success, and for a while Delius was seen as a serious rival to Richard Strauss, whose opera Salome had created a scandal at its Dresden première the previous year.
It is easy to see how audiences still in thrall to Wagner’s erotic-mystical masterwork Tristan and Isolde might have taken to Sea Drift. Delius’s warmly sensuous harmonies, the lush orchestral writing, and the sense of longing for something tantalisingly beyond our reach – all this owes a great deal to Wagner’s pioneering example. And, as in Tristan, the sea – its moods, colours and powerful currents – becomes a symbol both of
intense human emotion and, paradoxically, of nature’s indifference to our individual destinies. Yet the sound and expression are entirely personal. Delius is no mere Wagner imitator.
Delius chose as his text an exquisitely poignant poem by the American Walt Whitman, which tells of a boy’s fascinated observations of a pair of seagulls. Together the birds represent an ideal union of love: ‘Singing all time, minding no time’. Yet soon comes tragedy: one of the seagulls fails to return to the nest, and the rest of the poem is an ecstatic outpouring of love and grief from the abandoned bird. Delius’s music fuses the rise and fall of the sea with the swelling and ebbing of the bereaved lover’s passion, until he finally accepts the reality of loss: ‘We two together no more!’ Delius remembered how ‘the shape of Sea Drift was taken out of my hands, so to speak, as I worked, and was bred easily and effortlessly of the nature and sequence of my musical ideas and of the particular poetical ideas of Whitman that appealed to me’. The result is a work many consider his masterpiece.
SEA DRIFTfor baritone solo, chorus and orchestra
RODERICK WILLIAMS baritone
FrederickDELIUS
1862–1934
to the most raucous, with shifts between these often happening without warning. At first rather fragmentary, the musical atmosphere cumulatively becomes shrill and near chaotic, with rhythmic figures evoking either a street party or perhaps a protest. This topples over into:
Part 3: Hymns. The orchestra plays two musics at once: very broad, lyrical, hymn-like sustained melodies, mainly on the brass and strings; and a wide variety of unpitched or dissonant accents and noises – debris from the previous movement, perhaps – centred around percussion, which spreads to other instruments. A violent struggle ensues as the noises try with increasing force to
stop the melodies which, however, expand the more they are attacked. The melodies blossom into two, then three or four-part polyphony, and they accelerate. Eventually a wild melody spins at top speed across the entire range of the orchestra leading directly to the coda, which offers a fresh perspective at a slow tempo. Against overlapping sustained music in the strings, previous ideas combine with new harmonies and figures, but avoiding any resolution.
The Discovery of Heaven is dedicated to Jonathan Harvey.
ChorusOnce Paumanok,When the lilac-scent was in the air and Fifth-month grass was growing,Up this seashore in some briers,Two feather’d guests from Alabama, two together,And their nest, and four light-green eggs spotted with brown,
BaritoneAnd every day the he-bird to and fro near at hand,And every day the she-bird crouch’d on her nest, silent, with bright eyes,And every day I, a curious boy, never too close, never disturbing them,Cautiously peering, absorbing, translating.
ChorusShine! Shine! Shine!Pour down your warmth, great sun!While we bask, we two together …Two together!Winds blow south or winds blow north,Day come white or night come black,
BaritoneHome, or rivers and mountains from home,
ChorusSinging all time, minding no time,While we two keep together.
BaritoneTill of a sudden,Maybe kill’d, unknown to her mate,One forenoon the she-bird crouch’d not on the nest,Nor returned that afternoon, nor the next,Nor ever appear’d again.And thenceforward all summer in the sound of the sea,And at night under the full of the moon in calmer weather,Over the hoarse surging of the sea,Or flitting from brier to brier by day,I saw, I heard at intervals the remaining one, the he-bird,The solitary guest from Alabama.
ChorusBlow! blow! blow!Blow up sea-winds along Paumanok’s shore;I wait and I wait till you blow my mate to me.
BaritoneYes, when the stars glisten’d,All night long on the prong of a moss-scallop’d stake,
DELIUS: SEA DRIFT
Please turn the page quietly
12 | London Philharmonic Orchestra
Down almost amid the slapping waves,Sat the lone singer, wonderful, causing tears.He call’d on his mate,He pour’d forth the meanings which I of all men know.Yes my brother I know,The rest might not, but I have treasur’d every note,For more than once dimly down to the beach glidingSilent, avoiding the moonbeams, blending myself with the shadows,Recalling now the obscure shapes, the echoes, the sounds and sights after their sorts.The white arms out in the breakers tirelessly tossing,I, with bare feet, a child, the wind wafting my hair,Listen’d long and long.Listen’d to keep, to sing, now translating the notes,Following you, my brother.
ChorusSoothe! soothe! soothe!Close on its wave soothes the wave behind,And again another behind embracing and lapping, every one close.
BaritoneBut my love soothes not me, not me.
ChorusLow hangs the moon, it rose late,It is lagging – O I think it is heavy with love, with love.
BaritoneO madly the sea pushes upon the land,With love, with love.O night! do I not see my love fluttering out among the breakers?What is that little black thing I see there in the white?Loud! loud! loud!Loud I call to you, my love!High and clear I shoot my voice over the waves,Surely you must know who is here, is here,You must know who I am, my love!
ChorusO rising stars!Perhaps the one I want so much will rise, will rise with some of you.O throat! O trembling throat!Sound clearer through the atmosphere!Pierce the woods, the earth,Somewhere listening to catch you must be the one I want.
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BaritoneShake out carols!Solitary here, the night’s carols!Carols of lonesome love! death’s carols!Carols under that lagging, yellow, waning moon!O under that moon where she droops almost down into the sea!O reckless despairing carols.But soft! sink low!Soft! let me just murmur,And do you wait a moment you husky voic’d sea.For somewhere I believe I heard my mate responding to me,So faint, I must be still, be still to listen,But not altogether still, for then she might not come immediately to me.Hither my love!Here I am! hereWith this just-sustain’d note I announce myself to you,This gentle call is for you my love, for you.
ChorusDo not be decoy’d elsewhere,That is the whistle of the wind, it is not my voice,That is the fluttering, the fluttering of the spray,Those are the shadows of leaves.O darkness! O in vain!
BaritoneO darkness! O in vain!O I am very sick and sorrowful.O brown halo in the sky near the moon, drooping upon the sea!O troubled reflection in the sea!O throat! O throbbing heart!And I singing uselessly, uselessly all the night.O past! O happy life! O songs of joy!In the air, in the woods, over fields,Loved! loved! loved! loved! loved!But my mate no more, no more with me!We two together no more.
Walt Whitman (1819–92) From ‘Out of the Cradle Endlessly Rocking’, from the poetry collection Leaves of Grass (1855)
INTERVAL – 20 minutesAn announcement will be made five minutes before the end of the interval.
14 | London Philharmonic Orchestra
pROGRAMME NOTES
The first performance of Elgar’s Enigma Variations in June 1899 was the great turning point in his career. Elgar was now the ‘coming man’ of British music. But its success brought a huge burden of responsibility. Here surely was the composer who would give the world the first great British symphony, and thus end German domination in the field of symphonic music.
Elgar’s confidence was shaky enough at the best of times and, faced with such expectations, he prevaricated. It wasn’t until the summer of 1907, just after his 50th birthday, that Elgar at last felt ready to put his ideas into coherent order. The première of the newly completed Symphony No. 1 in December 1908 was an even more dazzling success than that of the Enigma Variations. The conductor Hans Richter called it ‘the greatest symphony of modern times’. By the end of the following year it had notched up nearly a hundred performances.
Naturally people wanted to know what the Symphony was ‘about’. Elgar replied that there was ‘no programme beyond a wide experience of human life with great charity (love) and a massive hope in the future’ – a rousing symphonic hymn, it would appear, to what Elgar was later to call the ‘glad confident morning’ of the Edwardian age. But the way the Symphony develops invites more complex interpretations. It begins and ends with a magnificent nobilmente theme, a splendid processional tune that easily suggests ‘great charity’ and ‘massive hope’. But the beginning of the Allegro plunges us directly into a world of turbulence, passion, conflict. If the nobilmente theme represents Elgar’s ‘public face’ – confident and aspiring – this Allegro music reveals a more restless, searching, passionate nature: the Elgar known only to his closest friends.
The first movement is the longest of the four. After the Allegro has wrenched us away from the initial ‘glad confidence’, we do hear memories of the nobilmente theme; and after further battles it returns gloriously in A-flat major, asserting itself through a rich counterpoint
of motifs from the Allegro. And yet the ending of the movement is uncertain, still unstable – the full return of ‘massive hope’ is still a long way off.
Nervous, edgy string figures begin the Allegro molto second movement, building to a grim, swaggering marching tune. This is contrasted with calmer, sweeter music from liquid flutes and harp: for Elgar this was ‘like something heard down by the river’. The march returns but eventually the fury subsides; then comes a superbly engineered transformation. As the momentum ebbs, the rushing violin figure heard at the start of the movement slows down and stabilises into a rapt, slow melody – the Adagio has begun. This too is intensely noble music, though here one may also detect a note of yearning: if this is music of ‘love’ then it is almost certainly of the more earthly, human kind. Towards the end of this movement Elgar subtly recalls the first movement’s nobilmente theme on hushed strings, alternating magically with triplet figures on muted brass and timpani. ‘Massive hope’ is remembered, yet it feels worlds away.
The finale begins with sombre, mysterious, fragmentary sounds passed between the various sections of the orchestra. Suddenly the Allegro bursts into action, the surging energy sustained until almost the end of the movement. Eventually the nobilmente theme returns in triumph on trumpets, through flurries and surges of strings and woodwind. Nobility, glad confidence and charity have the last word, but whether this represents an out-and-out triumph is left for the listener to decide.
Andante. Nobilmente e semplice – AllegroAllegro molto –AdagioLento – Allegro
Barlines free post-concert discussionThe Clore Ballroom at Royal Festival hall Ryan Wigglesworth and Composer in Residence Julian Anderson discuss The Discovery of Heaven.
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ORChESTRA NEWS
Glyndebourne 2012 Booking is now open for the 2012 Glyndebourne Festival season, which opens on 20 May.
The London Philharmonic Orchestra has been Resident Symphony Orchestra at Glyndebourne since 1964. This summer the Orchestra will give performances of Janáček’s The Cunning Little Vixen under Vladimir Jurowski, Rossini’s La Cenerentola under James Gaffigan, Puccini’s La bohème under Kirill Karabits, and a double-bill of Ravel’s L’heure espagnole and L’enfant et les sortilèges under Kazushi Ono.
Tickets start from £10 and you can book by telephone (01273 813813), or read full details and book online:
glyndebourne.com
The Thames Diamond Jubilee pageant Sunday 3 June 2012 As part of the Queen’s Diamond Jubilee celebrations, on 3 June the London Philharmonic Orchestra will perform onboard a barge as part of a 1000-vessel flotilla on the Thames, the largest river celebration in 350 years. At the centre of the procession, which will sail from Putney to Tower Bridge, will be the Queen and the Duke of Edinburgh aboard the Pageant’s flagship The Spirit of Chartwell. Millions of spectators are expected to line the river banks, and giant screens on the Embankment will show the 7.5-mile procession.
The Orchestra, conducted by David Parry, will perform a Last Night of the Proms-style selection of British music, which will also be recorded for a CD to be released on the LPO Label.
thamesdiamondjubileepageant.org
Tour news – Russia, Spain and Germany
The Orchestra is looking forward to a rare trip to Russia next month – its first since 1975 – where it has been invited to perform as part of the prestigious International Rostropovich Festival in Moscow. The annual festival, which first took place in 2010, was created to honour the memory of the great Russian cellist Mstislav Rostropovich, who died in 2007.
Following the major tour of China with Yan Pascal Tortelier in the New Year, where the Orchestra performed in the recently opened Guangzhou Opera House and in Wuhan, Changsha and Beijing, other recent tours have included visits to Spain and Germany in February and March, with violinist Joshua Bell under Vladimir Jurowski and Vasily Petrenko.
Members of the London Philharmonic Orchestra in Red Square, Moscow in 1956: the first-ever appearance in Russia by a British orchestra.
16 | London Philharmonic Orchestra
London PhiLharmonic orchestra
annuaL aPPeaL 2011/12in aid of the community Programme
Despite living close to Royal Festival Hall,
many people in South London have never visited
the venue or heard an orchestra perform. We are
committed to our work in the community to ensure
that as many people as possible can access and
enjoy music of the highest quality. There are
three dynamic projects within the Community
Programme, providing inspirational musical
opportunities for children and their families.
Animate Orchestra is a young person’s ‘orchestra for the 21st century’, offering young
people in Lewisham and Greenwich a creative pathway for them to continue their playing
as they make the transition from primary to secondary education – a time when many
young musicians give up. Young people make music side by side with London Philharmonic
Orchestra musicians.
The Band is the Orchestra’s fusion ensemble for young people in South London, at
which they improvise, create, and rehearse their own music – from classical to jazz,
hip hop, rock, and more. Members have inspirational contact with London Philharmonic
Orchestra players, in sessions led by some of the UK’s leading tutors.
FUNharmonics are our Family Concerts – an interactive introduction for all the
family to music and the orchestra, presented by Chris Jarvis of CBeebies. Free foyer
activities before and after the concert include Have-a-Go sessions where children can
try out a range of orchestral instruments with our musicians; and the Human Orchestra
– fun rhythmic sessions where music is performed using body percussion, singing,
drumming, and clapping.
Your Support
In order to undertake this essential work we depend entirely on donations from
charitable sources each year, and we are asking you to help us to support this work
in the communities surrounding the South Bank. If you do feel able to contribute
to this year’s Appeal we would be extremely grateful. Gifts of any size make a real
difference; to donate please contact Elisenda Ayats on 020 7840 4225 or
For more information, and to donate online, please visit lpo.org.uk/support_us/appeal
And now, for the first time, you can also donate up to £10 to the Orchestra by text
message. To donate, text PHIL12 and the amount you wish to donate (£1, £2, £3, £4, £5,
or £10) to 70070. e.g. to donate £10 text PHIL12 £10 to 70070
For more information, please visit lpo.org.uk/text
London Philharmonic Orchestra | 17
Thomas Beecham GroupThe Tsukanov Family Anonymous
The Sharp FamilyJulian & Gill Simmonds
Garf & Gill CollinsAndrew DavenportDavid & Victoria Graham FullerRichard Karl GoeltzJohn & Angela KesslerMr & Mrs MakharinskyGeoff & Meg MannCaroline, Jamie & Zander SharpEric Tomsett
Mrs Sonja Drexler Guy & Utti Whittaker
principal BenefactorsMark & Elizabeth AdamsJane AttiasLady Jane BerrillDesmond & Ruth CecilMr John H CookMr Charles Dumas
David EllenCommander Vincent EvansMr & Mrs Jeffrey HerrmannPeter MacDonald EggersMr & Mrs David MalpasAndrew T MillsMr Maxwell MorrisonMr Michael PosenMr & Mrs Thierry SciardMr John Soderquist & Mr Costas MichaelidesMr & Mrs G SteinMr & Mrs John C TuckerMr & Mrs John & Susi Underwood Lady Marina VaizeyHoward & Sheelagh WatsonMr Laurie Watt Mr Anthony Yolland
BenefactorsMrs A BeareDr & Mrs Alan Carrington CBE FRSMr & Mrs Stewart CohenMr Alistair CorbettMr David DennisMr David EdgecombeMr Richard Fernyhough
Ken FollettPauline & Peter HallidayMichael & Christine HenryMr Ivan HurryMr Glenn HurstfieldMr R K JehaMr Gerald LevinSheila Ashley LewisWg. Cdr. & Mrs M T Liddiard OBE JP RAFMr Frank LimPaul & Brigitta LockMr Brian MarshJohn MontgomeryEdmund PirouetMr Peter TausigMrs Kazue TurnerMr D WhitelockBill Yoe
hon. BenefactorElliott Bernerd
hon. Life MembersKenneth Goode Pehr G GyllenhammarEdmund Pirouet Mrs Jackie Rosenfeld OBE
We would like to acknowledge the generous support of the following Thomas Beecham Group patrons, principal Benefactors and Benefactors:
The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged:
The Boltini TrustBritten-Pears FoundationThe Candide Charitable TrustThe Coutts Charitable TrustThe Delius TrustDunard FundThe Equitable Charitable TrustThe Eranda FoundationThe Fenton Arts TrustThe Foyle FoundationThe Jeniffer and Jonathan Harris Charitable TrustHattori Foundation for Music and the ArtsCapital Radio’s Help a London ChildThe Hobson CharityThe Kirby Laing Foundation The Idlewild TrustThe Leverhulme TrustLord and Lady Lurgan TrustMaurice Marks Charitable TrustMarsh Christian TrustThe Mercers’ CompanyAdam Mickiewicz Institute The Peter Minet TrustPaul Morgan Charitable Trust
Corporate MembersSilver: AREVA UKBritish American Business Destination Québec – UKHermes Fund ManagersBronze:Appleyard & Trew LLPBerkeley LawCharles RussellLazardLeventis Overseas
Corporate DonorLombard Street Research
In-kind SponsorsGoogle IncHeinekenLindt & Sprüngli LtdSela / Tilley’s SweetsVilla Maria
Trusts and FoundationsAddleshaw Goddard Charitable Trust Arts and BusinessAllianz Cultural Foundation Angus Allnatt Charitable Foundation
The Diana and Allan MorgenthauCharitable Trust
Maxwell Morrison Charitable TrustMusicians Benevolent FundNewcomen Collett Foundation The Austin & Hope Pilkington Trust The Serge Prokofiev FoundationSerge Rachmaninoff FoundationThe Reed Foundation The Rothschild Foundation The Seary Charitable TrustThe Samuel Sebba Charitable TrustThe David Solomons Charitable TrustThe Steel Charitable TrustThe Stansfield TrustThe Bernard Sunley Charitable FoundationThe Swan TrustJohn Thaw FoundationThe Thistle TrustThe Underwood Trust Kurt Weill Foundation for MusicGarfield Weston FoundationYouth Music and others who wish to remain anonymous
18 | London Philharmonic Orchestra
New recordings on the London philharmonic Orchestra label
VLADIMIR JUROWSKI CONDUCTS hONEGGER’S Pastorale d’été, SYMphONY NO. 4 AND Une Cantate de noël
LpO–0058 | £9.99 ‘[The Fourth Symphony] is full of charm and tactile invention, vividly realised in this live recording.’ The Sunday Times, 30 October 2011
‘All three works on this unexpectedly satisfying CD communicate a joie de vivre without ever sounding lightweight.’ The Financial Times, 21 November 2011
RAVI ShANKAR: SYMphONYApril 2012
ChRISTOph ESChENBACh CONDUCTS BEEThOVEN’S missa solemnis April 2012
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Coming soon ...
Browse and order online at lpo.org.uk/shop, or call the Box Office on 020 7840 4242
BERNARD hAITINK CONDUCTS RAVEL’S daPhnis et Chloé
LpO–0059 | £9.99 ‘Finely honed, played with sensitivity and virtuosity ... a compelling realisation of a great score.’ Classicalsource.com, 6 February 2012
NEEME JäRVI CONDUCTS DVOŘÁK’S staBat materMay 2012
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NExT CONCERT AT ROYAL FESTIVAL hALL
Wednesday 28 March 2012 | 7.30pm Royal Festival hall
Free pre-concert performance 6.00–6.45pm | Royal Festival hallLondon Music Masters artists and Bridge Project students celebrate four years of creative collaboration with the London Philharmonic Orchestra, Royal College of Music, Wigmore Hall and Southbank Centre with a performance featuring specially commissioned works.
The Delius Society: Join us in 2012 to celebrate the 150th anniversary of Delius’s birth
2012 is an exciting year for those interested in Frederick Delius and his music. In celebration of the 150th anniversary of the composer’s birth, there will be events, concerts, new recordings, a Study Weekend, a Composition Prize and much more. See our website for details.
Why not join The Delius Society and be part of the celebration? Our membership includes leading Delius scholars and performers as well as those who join purely because of curiosity about or love for the unique music of Delius. Regular meetings are held in London and the Midlands and a quality Journal is published twice yearly.
For all membership enquiries please contact:Peter Watts, Treasurer & Membership SecretaryBourner Bullock, Sovereign House212-224 Shaftsbury AvenueLondon WC2H 8HQ
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Board of Directors
Martin Höhmann ChairStewart McIlwham Vice-ChairSue BohlingLord Currie*Jonathan Dawson*Gareth NewmanGeorge PenistonSir Bernard Rix*Kevin RundellSir Philip Thomas*Timothy Walker AM†*Non-Executive Directors
The London philharmonic Trust
Victoria Sharp ChairDesmond Cecil CMGJonathan Harris CBE FRICSDr Catherine C. HøgelMartin HöhmannAngela KesslerClive Marks OBE FCAJulian SimmondsNatasha TsukanovaTimothy Walker AM†Laurence Watt Manon Williams
American Friends of the London philharmonic Orchestra, Inc.
We are very grateful to the Board of the American Friends of the London Philharmonic Orchestra for its support of the Orchestra’s activities in the USA.
professional Services
Charles RussellSolicitors
Crowe Clark Whitehill LLPAuditors
Dr Louise MillerHonorary Doctor
General Administration
Timothy Walker AM† Chief Executive and Artistic Director
Alison AtkinsonDigital Projects Manager
Finance
David BurkeGeneral Manager andFinance Director
David GreensladeFinance and IT Manager
Concert Management
Roanna GibsonConcerts Director
Ruth SansomArtistic Administrator
Graham WoodConcerts, Recordings andGlyndebourne Manager
Alison JonesConcerts Co-ordinator
Jenny ChadwickTours and Engagements Manager
Jo OrrPA to the Executive / Concerts Assistant
Matthew FreemanRecordings Consultant
Education & Community
Patrick BaileyEducation and Community Director
Alexandra ClarkeEducation Manager
Caz ValeCommunity and Young Talent Manager
Richard MallettEducation and Community Producer
Orchestra personnel
Andrew CheneryOrchestra Personnel Manager
Sarah ThomasLibrarian
Michael PattisonStage Manager
Julia BoonAssistant Orchestra Personnel Manager
Ken Graham TruckingInstrument Transportation(Tel: 01737 373305)
Development
Nick JackmanDevelopment Director
Harriet MesherCharitable Giving Manager
Melissa Van EmdenEvents Manager
Laura LuckhurstCorporate Relations and Events Officer
