23 feb programme notes

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

Chief Executive and Artistic Director TIMOThY WALKER AM

pROGRAMME £3

CONTENTS 2 Welcome 3 About the Orchestra 4 Tonight’s performers5 Stanisław Skrowaczewski6 Garrick Ohlsson 7 Programme notes10 Orchestra news11 Supporters12 LPO administration The timings shown are not precise and

are given only as a guide.

* supported by the Tsukanov Family Foundation and one anonymous donor

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA WITH ASSISTANCE FROM BRIGHTON DOME

BRIGhTON DOME, CONCERT hALLSaturday 23 February 2013 | 7.30pm

MARIN ALSOpconductor

GARRICK OhLSSONpiano

COpLANDFanfare for the Common Man (3’)

JOAN TOWERFanfare for the Uncommon Woman, No. 1 (3’)

COpLANDPiano Concerto (16’)

GERShWINRhapsody in Blue (15’)

Interval

DVOŘÁK Symphony No. 9 in E minor, Op. 95 (From the New World) (40’)

Ticket Office: 01273 709709brightondome.org

CONTENTS 2 Welcome 3 Marin Alsop4 Garrick Ohlsson5 About the Orchestra 6 On stage tonight7 Programme notes11 Supporters12 LPO administration

The timings shown are not precise

and are given only as a guide.

2 | London Philharmonic Orchestra

Welcome to Brighton DomeChief Executive Andrew Comben

We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following:

LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks.

SMOKING Brighton Dome is a no-smoking venue.

INTERVAL DRINKS may be ordered in advance at the bar to avoid queues.

phOTOGRAphY is not allowed in the auditorium.

RECORDING is not allowed in the auditorium.

MOBILES, pAGERS AND WATChES should be switched off before entering the auditorium.

Thank you for your co-operation.

The concert at Brighton Dome on 23 February 2013 is presented by the London Philharmonic Orchestra with assistance from Brighton Dome.

Brighton Dome gratefully acknowledges the support of Arts Council England and Brighton & Hove City Council.

Brighton Dome is managed by Brighton Dome and Festival Ltd which also runs the annual three-week Brighton Festival in May.

brightonfestival.org

Welcome

Next London philharmonic Orchestraconcert at Brighton Dome

Saturday 16 March 2013 | 7.30pm

Beethoven Symphony No. 5 Schumann Cello Concerto Elgar Enigma Variations David parry conductor Narek hakhnazaryan cello

‘Hakhnazaryan technically has it all: fabulous bow technique, beautiful vibrato, mastery of ponticello and every other cello device, and ability to play super-fast, brilliantly. But what really distinguishes his playing is its effect on the listener. There is an immediate connection between his cello playing and those lucky enough to be in the audience. It’s that personal connection, that passion and musical charisma, that not only wins competitions, but people’s hearts as well.’ The Boston Musical Intelligencer, October 2012

Tickets £10–£32.50Box Office 01273 709709Book online at brightondome.org

David Parry and Narek Hakhnazaryan

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London Philharmonic Orchestra | 3

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Marin Alsopconductor

Marin Alsop is an inspiring and powerful voice on the international music scene, a Music Director of vision and distinction who passionately believes that music has the power to change lives. She is

recognised across the world for her innovative approach to programming and for her deep commitment to education and the development of audiences of all ages.

Her success as Music Director of the Baltimore Symphony Orchestra was recognised when, in 2009, her tenure was extended to 2015. Alsop took up the post of Principal Conductor of the São Paulo Symphony Orchestra at the start of the 2012 season, steering the orchestra in its artistic and creative programming, recording ventures and its education and outreach activities. In August 2012 she led the orchestra on a European tour, with acclaimed performances at the BBC Proms in London and at the Concertgebouw’s Robeco Summer Concerts in Amsterdam.

Since 1992, Marin Alsop has been Music Director of California’s Cabrillo Festival of Contemporary Music, where she has built a devoted audience for new music. Building an orchestra is one of Alsop’s great gifts, and she retains strong links with her previous orchestras – the Bournemouth Symphony Orchestra (Principal Conductor 2002–08; now Conductor Emeritus) and the Colorado Symphony Orchestra (Music Director 1993–2005; now Music Director Laureate). Marin Alsop has guest conducted the great orchestras of the world including the Philadelphia Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Royal Concertgebouw Orchestra, La Scala Philharmonic, Orchestre de Paris and Bavarian Radio Symphony Orchestra. In Europe, she regularly returns to the Frankfurt Radio Symphony, Royal Stockholm Philharmonic and the Czech Philharmonic orchestras. Alsop has a close relationship with both the London Philharmonic and London Symphony orchestras, appearing with both orchestras most seasons, as well as with the Orchestra of the Age of Englightenment. She is also Artist in Residence at the Southbank Centre in London.

Highlights of 2012/13 include Marin Alsop’s Viennese debut with the Vienna Symphony Orchestra at the Musikverein; a performance of the Brahms Requiem with the MDR Symphony Orchestra at the Leipzig Gewandhaus; and her debut with Orchestre National de France in Paris.

Since taking up her position in Baltimore in 2007, Marin Alsop has spearheaded educational initiatives that reach more than 60,000 school and pre-school students. In 2008 she launched ‘OrchKids’, which provides music education, instruments and mentorship to the city’s neediest young people, and in 2010 the BSO Academy, where local non-professional musicians work for a week with members of the orchestra.

In 2008 Marin Alsop became a Fellow of the American Academy of Arts & Sciences and, in the following year, was chosen as Musical America’s Conductor of the Year. She is the recipient of numerous awards and is the only conductor to receive the prestigious MacArthur Fellowship, given to US residents in recognition of exceptional creative work. She was inducted into the American Classical Music Hall of Fame in 2010 and was the only classical musician to be included in The Guardian’s ‘Top 100 Women’, celebrating the centenary of International Women’s Day in 2011. In October 2012 Alsop was presented with Honorary Membership (HonRAM) of the Royal Academy of Music, London.

Alsop’s extensive discography on Naxos includes a notable set of Brahms symphonies with the London Philharmonic Orchestra, and a highly praised Dvořák series with the Baltimore Symphony. The first disc of her Prokofiev symphonic cycle with the São Paulo Symphony Orchestra was Orchestral Choice in BBC Music Magazine. Other award-winning recordings include Bernstein’s Mass (Editor’s Choice, Gramophone Awards 2010) and Jennifer Higdon’s Percussion Concerto with Colin Currie on the LPO Label (LPO-0035, Grammy Award 2010).

Born in New York City, Marin Alsop attended Yale University and The Juilliard School. Her conducting career was launched when, in 1989, she was a prize-winner at the Leopold Stokowski International Conducting Competition and in the same year was the first woman to be awarded the Koussevitzky Conducting Prize from the Tanglewood Music Center, where she was a pupil of Leonard Bernstein.


Garrick Ohlssonpiano

Since his triumph as winner of the 1970 International Chopin Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess.

Although he has long been regarded as one of the world’s leading exponents of the music of Chopin, Ohlsson commands an enormous repertoire, ranging across the entire piano literature.

A student of the late Claudio Arrau, Ohlsson has come to be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. His concerto repertoire alone is unusually wide and eclectic – ranging from Haydn and Mozart to works of the 21st century – and to date he has at his command more than 80 concertos.

The 2012/13 season began with performances of Busoni’s Piano Concerto with the European Union Youth Orchestra and Gianandrea Noseda, including at the Edinburgh International Festival. Ohlsson appeared with the London Philharmonic Orchestra earlier this season, followed by a month-long tour of Australia where he recorded, in performance, both Brahms Piano Concertos. At the beginning of 2013 Ohlsson gave a performance of Rachmaninoff’s Piano Concerto No. 3 with the Chicago Symphony Orchestra and Sir Mark Elder. Tonight’s concert will be followed by a Kennedy Center appearance with the Iceland Symphony Orchestra as part of the venue’s Nordic Festival, and a US tour with the Swedish Chamber Orchestra. Garrick Ohlsson returns to New York later in the spring as soloist with the Boston Symphony Orchestra at Carnegie Hall, conducted by Rafael Frühbeck de Burgos. Other US appearances include return visits to the orchestras of Minnesota, Dallas, Philadelphia, Cincinnati and Baltimore.

In acknowledgement of the bicentenary of Liszt’s birth, the 2011/12 season included recitals of the composer’s works in cities including Chicago, Hong Kong, London and New York, where he also visited Carnegie Hall with the Atlanta Symphony Orchestra and Lincoln Center with

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the New York Philharmonic. Tours in Europe and Asia included concerts in the UK, France, Italy, Taiwan, Hong Kong and Japan.

During the 2010/11 season Garrick Ohlsson presented a series of all-Chopin recitals in Seattle, Berkeley and La Jolla, culminating at Lincoln Center. In conjunction with that project, a documentary, The Art of Chopin, featuring Garrick Ohlsson and co-produced by Polish, French, British and Chinese television stations, was released in autumn 2010.

Garrick Ohlsson is an avid chamber musician, and has collaborated with the Cleveland, Emerson, Takács and Tokyo string quartets. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio.

A prolific recording artist, Garrick Ohlsson can be heard on labels including Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Virgin Classics and Bridge Records, where his ten-disc set of the complete Beethoven sonatas has garnered considerable critical praise, including a GRAMMY® for Volume 3. His recording of Rachmaninoff’s Piano Concerto No. 3 with the Atlanta Symphony Orchestra and Robert Spano was released in 2011. In 2008, Hyperion re-released his 16-disc set of the complete works of Chopin, and recently released a disc of all the Brahms Piano Variations and Granados’s Goyescas.

Born in New York State, Garrick Ohlsson began his piano studies at the age of eight. He attended the Westchester Conservatory of Music and at 13 entered The Juilliard School. His musical development has been influenced by a succession of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhévinne and Irma Wolpe. Although he won First Prizes at the 1966 Busoni Competition in Italy and the 1968 Montreal Piano Competition, it was his 1970 triumph at the International Chopin Piano Competition in Warsaw, where he won the Gold Medal, that brought him worldwide recognition as one of the finest pianists of his generation. Since then he has made nearly a dozen tours of Poland, where he retains immense personal popularity.


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 giving classical concerts, the Orchestra also records film and video 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 its Principal Conductors have included Sir Adrian Boult, Sir John Pritchard, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Vladimir Jurowski, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor.

The Orchestra is Resident Orchestra at Southbank Centre’s Royal Festival Hall in London, where it has performed since it opened in 1951, giving around 40 concerts there each season. 2012/13 highlights include three concerts with Vladimir Jurowski based around the theme of War and Peace in collaboration with the Russian National Orchestra; Kurt Weill’s The Threepenny Opera, also conducted by Jurowski; 20th-century American works with Marin Alsop; Haydn and Strauss with Yannick Nézet-Séguin; and the UK premiere of Carl Vine’s Second Piano Concerto with pianist Piers Lane under Vassily Sinaisky. Throughout 2013 the Orchestra is collaborating with Southbank Centre on The Rest Is Noise festival, based on Alex Ross’s book of the same name and charting the 20th century’s key musical works and historical events.

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, where it has been Resident Symphony Orchestra since 1964. The Orchestra also tours internationally, performing concerts to sell-out audiences worldwide. Tours in the 2012/13 season include visits to Spain, Germany, France, Switzerland, the USA and Austria.

The London Philharmonic Orchestra has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, East is East, Hugo, and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now nearly 70 releases available on CD and to download. Recent additions include Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Brahms’s Symphonies Nos. 1 & 3 with Klaus Tennstedt; a disc of orchestral works by Mark-Anthony Turnage; and the world premiere of the late Ravi Shankar’s First Symphony conducted by David Murphy.

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics.

The London Philharmonic Orchestra maintains an energetic programme of activities for young people and local communities. Highlights include the Deutsche Bank BrightSparks Series; the Leverhulme

Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent 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 presence on Facebook and Twitter.

Find out more and get involved!

lpo.org.uk

facebook.com/londonphilharmonicorchestra

twitter.com/LpOrchestra

The LPO were on exceptional form, and the performance had a real edge-of-your-seat excitement. The Guardian

(29 September 2012, Royal Festival Hall: Rachmaninoff, Shchedrin, Denisov & Miaskovsky)


On stage tonight

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert:

Sonja Drexler David & Victoria Graham Fuller John & Angela Kessler Caroline, Jamie & Zander Sharp Julian & Gill Simmonds

First ViolinsAbigail Young

Guest LeaderIlyoung Chae

Chair supported by Moya Greene

Catherine CraigTom EisnerRobert PoolSarah StreatfeildYang ZhangGrace LeeRebecca ShorrockGalina TanneyMadeleine EastonRobert YeomansKatie LittlemoreFrancesca Smith

Second ViolinsAlison Kelly

Guest PrincipalJoseph MaherFiona HighamMarie-Anne MairesseNancy ElanEmma WraggChloé BoireauGavin DaviesDean WilliamsonStephen StewartMila MustakovaElizabeth Baldey

ViolasHelen Kamminga

Guest PrincipalRobert DuncanGregory AronovichBenedetto PollaniLaura Vallejo

Michelle BruilDaniel CornfordIsabel PereiraMartin FennMiriam Eisele

CellosTimothy Gill

Guest PrincipalFrancis BucknallLaura DonoghueGregory WalmsleySantiago Carvalho†Susanna RiddellTom RoffSibylle Hentschel

Double BassesTim Gibbs PrincipalLaurence LovelleGeorge PenistonKenneth KnussenHelen RowlandsTom WalleyCatherine RickettsMargarida Castro

FlutesWissam Boustany

Guest PrincipalSue Thomas

Chair supported by the Sharp Family

piccoloStewart McIlwham*

Principal

OboesIan Hardwick PrincipalAngela Tennick

Cor AnglaisGill Callow

ClarinetsRobert Hill* PrincipalEmily Meredith

Bass ClarinetPaul Richards Principal

E-flat ClarinetTom Watmough

SaxophonesMartin RobertsonChristian ForshawPaul Nathaniel

BassoonsGareth Newman* PrincipalEmma Harding

ContrabassoonSimon Estell Principal

hornsJohn Ryan* PrincipalDavid Pyatt PrincipalMartin HobbsMark Vines Co-PrincipalGareth Mollison

TrumpetsPaul Beniston* PrincipalAnne McAneney*

Chair supported by Geoff & Meg Mann

Nicholas Betts Co-PrincipalDaniel Newell

TrombonesMark Templeton* PrincipalDavid Whitehouse

Bass TromboneLyndon Meredith Principal

Contrabass TromboneLyndon Meredith

TubaLee Tsarmaklis* Principal

TimpaniChristopher Thomas

Guest Principal

percussionAndrew Barclay* Principal

Chair supported by Andrew Davenport

Keith MillarOlly YatesSacha JohnsonEddy Hackett

harpRachel Masters* Principal

CelesteCatherine Edwards

BanjoJames Ellis

* Holds a professorial appointment in London

† Chevalier of the Brazilian Order of Rio Branco


Aaron Copland was the composer who more than any other created an ‘American sound’ in orchestral music, bright, hard-edged and with a suggestion of wide open spaces. He wrote his well-known Fanfare for the Common Man in 1942, as one of a series of ten patriotic fanfares commissioned by the Cincinnati Symphony Orchestra from ten American composers for its wartime 1942/43 season. He later incorporated it into the finale of his Third Symphony. Scored for an orchestral brass section and percussion, the piece triumphantly achieves its composer’s aim to write ‘a traditional fanfare, direct and powerful, yet with a contemporary sound’.

This concert on an American theme begins with two fanfares for brass and percussion: Aaron Copland’s famous wartime Fanfare for the Common Man, and Joan Tower’s first Fanfare for the Uncommon Woman, a response to the Copland that is dedicated to tonight’s conductor. These preface two works for piano and orchestra from the heady period in the 1920s when the classics met jazz: Copland’s two-movement Concerto, written by its idealistic young composer to show how jazz rhythms and colours

could help create a distinctive American musical language; and George Gershwin’s single-movement Rhapsody in Blue, in which an aspiring songwriter displayed his ability to work on a broader canvas. Last comes the popular symphony called ‘From the New World’ that Dvořák composed while he was teaching in New York in the early 1890s, to demonstrate how a national musical style could be created from the idioms, not yet of jazz, but of spirituals and American popular songs.

From the New World

Fanfare for the Common ManAaronCopland

1900–90

Programme notes


Fanfare for the Uncommon Woman, No. 1JoanTower

Born 1938

Programme notes

piano Concerto

Garrick Ohlsson piano

1 Andante sostenuo –2 Molto moderato (molto rubato) – Allegro assai

AaronCopland

Joan Tower, one of the leading American composers of the present day, is probably best known for her Fanfare for the Uncommon Woman – the first in what later became a series of five pieces with the same title. It was composed in 1986 in response to a commission from the Houston Symphony, as part of its ‘Fanfare Project’ celebrating the 150th anniversary of the state of Texas. Not only is the title a variation on the title of Copland’s Fanfare, but the scoring is similarly for orchestral brass

and percussion. The piece begins like the Copland with arresting percussive attacks, but immediately opens out into intensive development of small motifs, without any loss of rhetorical effect. The composer originally gave the Fanfare a dedication ‘to women who take risks and are adventurous’, but later dedicated it personally to tonight’s conductor, Marin Alsop.

Aaron Copland composed his only Piano Concerto in 1926, and took the solo part in the first performance in Boston in January 1927, with his long-time champion Serge Koussevitzky conducting the Boston Symphony Orchestra. The work reflects Copland’s ambition, forged while he had been studying in Europe a few years earlier, to create a national style through the use of elements of jazz. As he later recalled, the period of the twenties was ‘definitely coloured by the notion that Americans needed a kind of music that they could recognise as their own. The jazz came by way of wanting to write this more immediately recognisable American music.’ Unlike Gershwin’s Rhapsody in Blue (which had had its famous premiere while Copland was still away), the Concerto is not simply in jazz idioms,

but uses jazz styles, clichés and colours to enliven the composer’s rapidly evolving personal style. So, for example, syncopated rhythms are combined with Copland’s Stravinskyan changing metres to produce rhythmic textures of some complexity.

Copland identified ‘two dominant jazz moods: the “blues” and the snappy number’: and it is this dualism that moulds the Concerto’s highly original two-movement form. After a challenging introduction, foreshadowing some of the work’s main thematic ideas, the first movement is a predominantly gentle slow blues; its principal melody is given increasingly full canonic treatment, culminating in a complex and sonorous passage for almost the full forces. After a


George Gershwin began his career in Tin Pan Alley, as a composer of popular songs and musicals, before making his mark in the realms of concert music and opera. The beginning of this shift is marked by his Rhapsody in Blue. This was one of a number of pieces of ‘symphonic jazz’ requested from various composers by the white band-leader Paul Whiteman, for a New York concert in February 1924 called ‘An Experiment in Modern Music’. Gershwin wrote the Rhapsody in about three weeks, enlisting the help of Whiteman’s arranger Ferde Grofé to score it for the band. The first performance, with the composer playing the solo part (including a cadenza he had not yet written down), was a triumphant success with the star-studded audience. The piece was soon repeated in various cities by Gershwin and the Whiteman band. Later, to give it greater circulation, Grofé also made versions accompanied by theatre orchestra and by full symphony orchestra – though he retained the saxophone section and the banjo of the original.

The Rhapsody in Blue is a single-movement work in the tradition of pieces such as Liszt’s Hungarian Fantasy, with a brilliant solo part including several extended cadenzas. Right from the famous trill and glissando of the opening clarinet solo, it is permeated by the instrumental colouring of jazz, together with its melodic and harmonic inflections, and above all its syncopated rhythms. There is also what might well be a full-blown Broadway show tune in the slower interlude towards the end. But it is the way in which Gershwin treats his material, not in a suite-like succession of episodes but in a continuous process of organic development, transition and transformation, that gives the Rhapsody the depth and complexity of a serious concert work.

Rhapsody in Blue, for piano and orchestra

Garrick Ohlsson piano

GeorgeGershwin

1898–1937

IntervalAn announcement will be made a few minutes before the end of the interval.

brief transition, the second movement begins with a piano solo requiring some molto rubato playing (for which Copland’s own recording sets the grotesque tone). The pace then quickens towards the main part of the movement, an exuberant ‘snappy number’. This begins as if in sonata form, with the piano’s syncopated scalewise figure as the first subject, a parodistic tune initiated by the saxophone as the second,

and a development section beginning calmly and incorporating a central piano cadenza. But where the recapitulation ought to be there is instead an expansive return to themes from the introduction to the first movement; after which the two main ideas of the second movement are brought back, in reverse order, in a brilliant coda.


Programme notes

AntonínDvořák

1841–1904

Symphony No. 9 in E minor, Op. 95 (From the New World)

1 Adagio – Allegro molto2 Largo3 Molto vivace4 Allegro con fuoco

The Czech composer Antonín Dvořák composed the last of his nine symphonies between December 1892 and May 1893, while he was living in New York as artistic director of the National Conservatory of Music. This was, for its time, an idealistic institution: it encouraged women and black students, offered free tuition to talented but poor applicants, and aimed specifically to foster a ‘new American school of music’. Dvořák seems to have designed his Symphony as a demonstration of how this ambition might be achieved: although it does not quote American folk melodies, it imitates the melodic patterns of African-American spirituals, which had been sung to him by one of the Conservatory students, and of the songs of Stephen Foster; and its two central movements were reportedly suggested by scenes of a forest funeral and a wedding dance in Longfellow’s epic poem Hiawatha, set among Native Americans. These American connections, well publicised in advance, must have contributed to the enthusiasm with which the audience at Carnegie Hall in New York greeted the first performance in December 1893: Dvořák wrote to his publisher that ‘the people clapped so much I had to thank them from the box like a king!’

Since then, the ‘New World’ has been one of the most popular of all symphonies – thanks chiefly to its distinctive atmosphere and its abundance of memorable tunes. These are deployed within a structure that has some unusual features, including a thoroughgoing attempt to create cyclic links between the movements.

The first Allegro has a dramatic slow introduction anticipating its striding main melody, and an unorthodox recapitulation in which the second and third main themes are brought back in remote keys (both led off by the second flute, treated, in Dvořák’s usual manner, as a low-register specialist). The slow

movement, the celebrated D-flat major Largo, opens with a solemn sequence of wind chords setting the scene for the unforgettable melody on the cor anglais. The middle section, based on two contrasting but related ideas, is followed by a transition, surely evoking a forest dawn, in which the first theme of the first Allegro reappears. The same theme is recalled twice in the next movement, in the linking passage between the scherzo and the Schubertian trio section, and in the coda.

It is in the finale, however, that the Symphony’s thematic threads are tied most closely together. The first theme of the movement is derived from the two melodies of the middle section of the Largo; the three-note scale figure that unites them is heard at its simplest at the start of the central development section. The development also refers back to the first theme of the first movement once more, to the melody of the Largo, and to the main motif of the scherzo; and the introductory chord-sequence of the Largo makes a thrilling reappearance towards the end of the work.

Programme notes by Anthony Burton © 2013


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:

Corporate Members

Silver: AREVA UKBritish American Business Destination Québec – UKHermes Fund Managers Pritchard Englefield

Bronze: Lisa Bolgar Smith and Felix

Appelbe of Ambrose AppelbeAppleyard & Trew LLPBerkeley LawCharles RussellLazardLeventis Overseas Corporate DonorLombard Street Research preferred partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Villa Maria

In-kind SponsorsGoogle IncSela / Tilley’s Sweets

Trusts and FoundationsBBC Performing Arts Fund The Boltini TrustSir William Boreman’s FoundationThe Boshier-Hinton FoundationBritten-Pears FoundationThe Candide TrustThe Coutts Charitable TrustDiaphonique, Franco-British fund for

contemporary musicDunard FundEmbassy of Spain, Office for Cultural

and Scientific AffairsThe Equitable Charitable TrustFidelio Charitable TrustThe Foyle FoundationJ Paul Getty Junior Charitable TrustThe Jeniffer and Jonathan Harris Charitable TrustCapital Radio’s Help a London ChildThe Hobson CharityThe Kirby Laing Foundation

The Idlewild TrustThe Leverhulme TrustMarsh Christian TrustAdam Mickiewicz Institute The Peter Minet TrustPaul Morgan Charitable TrustThe Diana and Allan Morgenthau

Charitable TrustMaxwell Morrison Charitable TrustMusicians Benevolent FundNewcomen Collett FoundationThe Austin & Hope Pilkington TrustSerge Rachmaninoff FoundationThe Rothschild FoundationThe Samuel Sebba Charitable TrustThe Bernard Sunley Charitable

FoundationJohn Thaw FoundationThe Tillett TrustThe Underwood TrustSir Siegmund Warburg’s Voluntary

SettlementKurt Weill Foundation for MusicGarfield Weston Foundation and others who wish to remain

anonymous

Thomas Beecham GroupThe Tsukanov Family Foundation Anonymous

The Sharp FamilyJulian & Gill Simmonds

Garf & Gill CollinsAndrew Davenport Mrs Sonja DrexlerDavid & Victoria Graham FullerMoya GreeneJohn & Angela KesslerMr & Mrs MakharinskyGeoff & Meg MannCaroline, Jamie & Zander SharpEric Tomsett

Guy & Utti Whittaker Manon Williams

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

David EllenCommander Vincent Evans Mr Daniel GoldsteinMr & Mrs Jeffrey HerrmannPeter MacDonald EggersMr & Mrs David MalpasMr 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 Vaizey Howard & Sheelagh WatsonMr Anthony Yolland

BenefactorsMrs A BeareDr & Mrs Alan Carrington CBE FRSMr & Mrs Stewart CohenMr Alistair CorbettMr David DennisMr David EdgecombeMr Richard FernyhoughKen FollettMichael & Christine Henry

Ivan HurryMr Glenn HurstfieldMr R K JehaMr Gerald LevinSheila Ashley LewisWg. Cdr. & Mrs M T Liddiard OBE JP RAFMr Frank LimPaul & Brigitta LockMr Brian Marsh Andrew T MillsJohn Montgomery Mr & Mrs Andrew NeillEdmund Pirouet Professor John StuddMr Peter TausigMrs Kazue Turner Mr Laurie WattDes & Maggie WhitelockChristopher WilliamsBill Yoe

hon. BenefactorElliott Bernerd

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


Administration

Board of Directors

Victoria Sharp ChairmanStewart McIlwham* PresidentGareth Newman*

Vice-PresidentDesmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. HøgelMartin Höhmann* Angela Kessler George Peniston* Sir Bernard RixKevin Rundell* Julian SimmondsMark Templeton*Sir Philip ThomasNatasha TsukanovaTimothy Walker AM Laurence Watt Dr Manon Williams

* Player-Director

Advisory Council

Victoria Sharp Chairman Richard Brass Sir Alan Collins Jonathan Dawson Christopher Fraser OBEClive Marks OBE FCA Stewart McIlwhamLord Sharman of Redlynch OBETimothy Walker AM

American Friends of the London philharmonic Orchestra, Inc.

Margot Astrachan ChairmanDavid E. R. Dangoor

Vice Chair/TreasurerKyung-Wha ChungPeter M. Felix CBE Alexandra JupinDr. Felisa B. KaplanWilliam A. KerrJill Fine MainelliKristina McPhee Dr. Joseph MulvehillHarvey M. Spear, Esq.Danny Lopez

Honorary ChairmanNoel Kilkenny

Honorary DirectorVictoria Sharp

Honorary Director

Richard Gee, Esq Of CounselRobert Kuchner, CPA

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 Gibson Concerts Director (maternity leave)

Ruth SansomArtistic Administrator / Acting Head of Concerts Department

Graham WoodConcerts and Recordings Manager

Barbara Palczynski Glyndebourne and Projects Administrator

Jenny Chadwick Tours and Engagements Manager

Alison JonesConcerts Co-ordinator

Jo OrrPA to the Chief 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 (maternity leave)

Sarah HolmesLibrarian (maternity cover)

Michael PattisonStage Manager

Julia BoonAssistant Orchestra Personnel Manager

Ken Graham TruckingInstrument Transportation Development

Nick JackmanDevelopment Director

Helen Searl Corporate Relations Manager

Katherine HattersleyCharitable Giving Manager

Melissa Van EmdenEvents Manager

Laura LuckhurstCorporate Relations and Events Officer

Sarah FletcherDevelopment and Finance Officer Marketing

Kath TroutMarketing Director

Mia RobertsMarketing Manager

Rachel WilliamsPublications Manager

Samantha KendallBox Office Manager(Tel: 020 7840 4242)

Libby Northcote-GreenMarketing Co-ordinator

Isobel KingIntern

Albion Media Public Relations (Tel: 020 3077 4930)

Archives

Philip StuartDiscographer

Gillian PoleRecordings Archive professional Services

Charles RussellSolicitors

Crowe Clark Whitehill LLPAuditors

Dr Louise MillerHonorary Doctor

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

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

Photograph of Copland © Roman Freulich. Photograph of Joan Tower © Bernie Mindich. Photograph of Gershwin © ClassicStock/Alamy. Photograph of Dvořák courtesy of the Royal College of Music, London.

Front cover photograph © Patrick Harrison.

Printed by Cantate.

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23 feb programme notes

Documents