london philharmonic orchestra 10 february 2016 concert programme

Concert programme2015/16 London Season

lpo.org.uk

A festival of concerts, talks and exploratory events celebrating the musical legacy of the world’s greatest playwright

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family FoundationPrincipal Guest Conductor ANDRÉS OROZCO-ESTRADALeader pIETER SChOEMAN supported by Neil WestreichComposer in Residence MAgNUS LINDbERgPatron hRh ThE DUKE OF KENT Kg

Chief Executive and Artistic Director TIMOThY WALKER AM

Contents

2 Welcome Orchestra news3 Shakespeare4004 About the Orchestra6 On stage tonight7 Osmo Vänskä8 Stephen Hough Lilli Paasikivi9 Simon Callow10 Programme notes14 Song texts15 Next concerts18 Sound Futures donors19 Supporters20 LPO administration

The timings shown are not precise and are given only as a guide.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Southbank Centre’s Royal Festival hallWednesday 10 February 2016 | 7.30pm

Dvořák Piano Concerto (36’)

Interval

Sibelius The Tempest: excerpts from the Incidental Music (60’)

Osmo Vänskä conductor

Stephen hough piano

Lilli paasikivi mezzo soprano

Simon Callow narrator

Free pre-concert events at Royal Festival hall

5.00–5.30pm South London GCSE student composers present brand new pieces inspired by Sibelius’s The Tempest.

6.00–6.45pmGordon McMullan of Shakespeare400 explores the 'late styles' of writers, artists and composers including Sibelius and Shakespeare.

2 | London Philharmonic Orchestra

Welcome

Welcome to Southbank Centre

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

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

If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email [email protected]

We look forward to seeing you again soon.

Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss

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.

LPO Education & Community news

Our LPO musicians perform over 30 concerts a year here at Royal Festival Hall, but did you know they are just as busy off the concert platform? The Orchestra reaches 33,000 young people each year through its Education & Community Programme and our players are keen to share their skills, expertise and passion for music-making within schools and communities. Today has been a jam-packed day with three projects in progress, inspired by the Shakespeare400 season and featuring repertoire from tonight’s performance .

At 5pm today, Year 10 music students from Trinity School (Lewisham) and St Ursula’s Convent School (Royal Greenwich) premiered two compositions on the Royal Festival Hall stage, with players from the London Philharmonic Orchestra and music leaders Rachel Leach and John Webb. Over the last five weeks the students and LPO team have worked together to compose their own group compositions based on Sibelius’s The Tempest. This New horizons composition project forms part of the young people’s GCSE studies and was the first time that groups experienced working as both composers and performers on the Royal Festival Hall stage. We are grateful for the support of The Lucille Graham Trust, The Michael Tippett Foundation and the John Thaw Foundation, and the South Riverside Music Partnership, who have made this project possible.

We would also like to welcome two groups of participants involved in the work of the LPO. Joining us tonight from across south-east London are young people and their families from the award-winning Animate Orchestra – a project run as part of the South Riverside Music Partnership. This event precedes our half-term skills development course later this month, which will form creative ensembles of 11–15 years olds.

And finally, we’d like to welcome the primary teachers involved in our summer term project, Creative Classrooms. This project aims to support classroom music-making at Key Stage 2, offering an intensive development opportunity for non-specialist music teachers in our four home boroughs (Lambeth, Lewisham, Royal Greenwich and Southwark). Each participating class will attend the LPO’s BrightSparks schools' concert on 23 May 2016, which forms the basis for the project’s musical content.

lpo.org.uk/education

Welcome to our Shakespeare400 series, part of a UK-wide festival of concerts, talks and exploratory events celebrating the musical legacy of the world’s greatest playwright, William Shakespeare.

For four and a half centuries, the most admired playwright and poet in history has inspired music both intimate and grand, devastating and uplifting. Shakespeare’s body of plays and poems has exercised more influence over composers and musicians than anything else in literature bar the Bible, and continues to inspire across the generations of today.

In collaboration with some of London’s leading cultural, creative and educational institutions, the London Philharmonic Orchestra joins Shakespeare400 with a celebration of the Bard’s love of music, and his influence on it. Join the LPO at Southbank Centre’s Royal Festival Hall this year for a celebration of creativity and collaboration, and dive into a musical world born of the words of the legendary William Shakespeare.

lpo.org.uk/shakespeare

Wednesday 27 January 2016 | 6.00pmHamlet in Russia: Shostakovich’s Hamlet

Wednesday 10 February 2016 | 5.00pmNew Horizons: Inspired by Shakespeare

Saturday 5 March 2016 | 6.00pmFoyle Future Firsts: Ophelia Dances

Saturday 9 April 2016 | 6.00pmLPO Soundworks & Quicksilver:

Inspired by Shakespeare

Saturday 30 April 2016 | post-concert RCM Big Band: Such Sweet Thunder

Wednesday 3 February 2016 | 7.30pm Dvořák | Othello

Wednesday 10 February 2016 | 7.30pm Sibelius | The Tempest

Friday 12 February 2016 | 7.30pm | JTI Friday Series Nicolai | The Merry Wives of Windsor

Friday 26 February 2016 | 7.30pm | JTI Friday Series R Strauss | Macbeth

Mendelssohn | A Midsummer Night’s Dream

Friday 15 April 2016 | 7.30pm | JTI Friday Series Prokofiev | Romeo and Juliet

Saturday 23 April 2016 | 7.30pm Anniversary Gala Concert

featuring very special guests

Sunday 5 June 2016 | 12 noon FUNharmonics Family Concert | Bottom’s DreamC

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Wednesday 3 February 2016 | 6.00pm Adapting Othello

Wednesday 10 February 2016 | 6.00pmLate works of Shakespeare and others

Friday 12 February 2016 | 6.00pmShakespeare’s Windsor

Friday 26 February 2016 | 6.00pmThe Macbeths

Friday 15 April 2016 | 6.00pmThink you know Romeo & Juliet?Pr

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London Philharmonic Orchestra

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups.

The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence.

The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives over 30 concerts each season. Throughout 2014/15 the Orchestra gave a series of concerts entitled Rachmaninoff: Inside Out, a festival exploring the composer’s major orchestral masterpieces. 2015/16 is a strong season for singers, with performances by Toby Spence and Anne Sofie von Otter amongst others; Sibelius enjoys 150th anniversary celebrations; distinguished visiting

conductors include Stanisław Skrowaczewski, Jukka-Pekka Saraste and Vasily Petrenko, with Robin Ticciati returning after his debut in 2015; and in 2016 the LPO joins many of London’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400 years since his death. The Orchestra continues its commitment to new music with premieres of commissions including Magnus Lindberg’s Second Violin Concerto and Alexander Raskatov’s Green Mass.

Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also 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 large part of the Orchestra’s life: highlights of the 2015/16 season

Exceptional playing from the London Philharmonic OrchestraThe Times, July 2015

London Philharmonic Orchestra | 5

include visits to Mexico City as part of the UK Mexico Year of Culture, Spain, Germany, the Canary Islands, Belgium, a return to the Concertgebouw, Amsterdam and the Orchestra’s premiere at La Scala, Milan.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download. Recent additions include Rachmaninoff's Symphony No. 3 and Ten Songs under Vladimir Jurowski, and archive recordings of Mahler Symphonies and Beethoven’s Symphony No. 5 conducted by Klaus Tennstedt.

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. In 2013 it was the winner of the RPS Music Award for Ensemble.

‘It was one of those unforgettable evenings where everything and everyone performed beautifully [with] an extraordinary performance by the London Philharmonic ... The ovation should have been standing.’Andrew Collins, The News, March 2015

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has 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 and regular podcast series, 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

youtube.com/londonphilharmonic7

instagram.com/londonphilharmonicorchestra

The most adventurous of London’s orchestrasFinancial Times, March 2015


On stage tonight

First ViolinsYang Xu Guest LeaderVesselin Gellev

Sub-LeaderJi-Hyun Lee

Chair supported by Eric Tomsett

Katalin VarnagyChair supported by Sonja Drexler

Catherine CraigThomas EisnerMartin Höhmann

Chair supported by The Jeniffer and Jonathan Harris Charitable Trust

Geoffrey LynnChair supported by Caroline, Jamie & Zander Sharp

Robert PoolSarah StreatfeildYang ZhangGrace LeeRebecca ShorrockNilufar Alimaksumova

Second ViolinsAndrew Storey PrincipalKate Birchall

Chair supported by David & Victoria Graham Fuller

Nancy ElanFiona HighamNynke HijlkemaJoseph MaherMarie-Anne MairesseHelena NichollsSioni WilliamsElizabeth BaldeyAlison StrangeJohn Dickinson

ViolasCyrille Mercier PrincipalRobert DuncanGregory AronovichKatharine LeekSusanne MartensBenedetto PollaniEmmanuella ReiterLaura VallejoNaomi HoltAlistair Scahill

CellosSteffan Morriss

Guest PrincipalFrancis BucknallLaura DonoghueSantiago Carvalho†David LaleGregory WalmsleyElisabeth Wiklander

Chair supported by The Viney Family

Susanna Riddell

Double bassesKevin Rundell* PrincipalGeorge Peniston Laurence LovelleThomas WalleyLowri MorganCharlotte Kerbegian

FlutesSue Thomas* Principal

Chair supported by Victoria Robey OBE

Clare Childs Stewart McIlwham*

piccolosStewart McIlwham*

PrincipalChair supported by Friends of the Orchestra

Clare Childs

OboesIan Hardwick* PrincipalAlice Munday

ClarinetsRobert Hill* PrincipalThomas Watmough

bass ClarinetPaul Richards Principal

E flat ClarinetThomas Watmough Principal

bassoonsGareth Newman PrincipalSimon Estell

hornsDavid Pyatt* Principal

Chair supported by Simon Robey

John Ryan* PrincipalChair supported by Laurence Watt

Martin HobbsStephen NichollsGareth Mollison

TrumpetsPaul Beniston* PrincipalAnne McAneney*

Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal

TrombonesMark Templeton* Principal

Chair supported by William & Alex de Winton

David Whitehouse

bass TrombonePaul Lambert

TubaLee Tsarmaklis* Principal

TimpaniSimon Carrington* Principal

percussionAndrew Barclay* Principal

Chair supported by Andrew Davenport

Henry Baldwin Co-PrincipalChair supported by Jon Claydon

Keith MillarJames BowerIgnacio Molins

harpRachel Masters* Principal

* Holds a professorial appointment in London

† Chevalier of the Brazilian Order of Rio Branco

Meet our members: lpo.org.uk/players

Chair SupportersThe London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: An anonymous donor • Bianca and Stuart Roden • Neil Westreich


Osmo Vänskäconductor

Music Director of the Minnesota Orchestra for over a decade, Osmo Vänskä is recognised for his compelling interpretations of repertoire from all ages, passionately conveying the authentic message of the composer’s score. Recent and forthcoming performances include Vänskä’s returns to the Chicago and San Francisco symphony orchestras, The Cleveland Orchestra, the Israel Philharmonic Orchestra and the Orchestre de la Suisse Romande. He regularly conducts the London Philharmonic and London Symphony orchestras, the Netherlands Radio Philharmonic, the Deutsches Symphonie-Orchester Berlin, the Vienna Symphony and the Finnish Radio Symphony Orchestra, and has developed strong relationships with the Helsinki Philharmonic, the New World Symphony and the Mostly Mozart Festival, New York. Last season he led the Minnesota Orchestra in a historic first visit by a major US orchestra to Cuba since the normalisation of relations between the two governments. He also became Principal Guest Conductor of the Iceland Symphony Orchestra, having previously held the position of Music Director. As one of the most renowned interpreters of Sibelius’s music, he contributed to the composer’s 150th anniversary celebrations at the BBC Proms and with the São Paulo, Lahti and Yomiuri Nippon symphony orchestras. Vänskä is a distinguished recording artist, primarily for the BIS label. In 2014 his album with the Minnesota Orchestra of Sibelius’s Symphonies Nos. 1 and 4 won a Grammy award for Best Orchestral Performance, following the nomination of Symphonies Nos. 2 and 5 the year before. In 2008 the London Philharmonic

Orchestra released on its own label Rachmaninoff’s Symphony No. 3 and Bax’s Tintagel (LPO-0036, below). Formerly Music Director of the Lahti Symphony Orchestra and Chief Conductor of the BBC Scottish Symphony Orchestra, Vänskä studied conducting at Finland’s Sibelius Academy and was awarded first prize in the 1982 Besançon Competition. He began his career as a clarinettist, occupying the co-principal chair of the Helsinki Philharmonic Orchestra, and in recent years has enjoyed a return to the clarinet, including on a 2012 recording of Kalevi Aho’s chamber works. Vänskä is the recipient of a Royal Philharmonic Society Award, the Finlandia Foundation’s Arts and Letters award, and the 2010 Ditson Award from Columbia University. He holds honorary doctorates from the universities of Glasgow and Minnesota and was named Musical America’s 2005 Conductor of the Year. In 2013 he received the Annual Award from the German Record Critics' Award Association for his involvement in BIS’s recordings of the complete works by Sibelius.

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Vänskä is one of the greatest living Sibelius conductors.Paul Gent, The Telegraph, April 2013

Vänskä conducts on the LpO LabelRachmaninoff Symphony No. 3 bax Tintagel

Osmo Vänskä conductorLondon philharmonic Orchestra

LpO-0036 | £9.99

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), the Royal Festival Hall shop and all good CD outlets.


Stephen Houghpiano

One of the most distinctive artists of his generation, Stephen Hough combines a distinguished career as a pianist with those of composer and writer. Named by The Economist as one of Twenty Living Polymaths, Hough was the first classical performer to be awarded

a MacArthur Fellowship and was made a CBE in the New Year Honours 2014.

Highlights of Stephen Hough’s 2015/16 season include performances with the Cleveland, Finnish Radio Symphony and New Zealand Symphony orchestras, the Hallé, the Los Angeles Philharmonic and the Orchestre Symphonique de Montréal. In recital he will appear in London, New York, Chicago, Tokyo and Beijing, and on tour in Australia with Musica Viva. Hough’s extensive discography has garnered international awards including the Diapason d’Or de l’Annee, several Grammy nominations, and eight Gramophone Awards including Record of the Year and the Gold Disc. His iPad app The Liszt Sonata was released by Touch Press in 2013. As a composer Hough has been commissioned by Wigmore Hall, Musée du Louvre, London’s National Gallery, Westminster Abbey, Westminster Cathedral and the Berlin Philharmonic Wind Quintet. He premiered his latest work, Piano Sonata III (Trinitas), at the Barbican in London in October 2015. As a writer Stephen Hough has been published by The Times, The Guardian, The Independent and The Telegraph – where he is author of one of the most popular cultural blogs worldwide. A Governor of the Royal Ballet companies, Hough is a Visiting Professor at the Royal Academy of Music, the International Chair of Piano Studies at the Royal Northern College of Music and is on the faculty of The Juilliard School in New York.

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Lilli Paasikivi is one of the world’s leading interpreters of the Mahler song-cycles and symphonies. Her appearances have included Das Lied von der Erde and Des Knaben Wunderhorn with the Los Angeles Philharmonic under Esa-Pekka Salonen;

Symphony No. 2 with the Royal Swedish Philharmonic Orchestra under Sakari Oramo; Symphony No. 3 with the London Symphony Orchestra under Paavo Järvi; Symphony No. 8 with the Berlin Philharmonic under Sir Simon Rattle; Kindertotenlieder with the New World Symphony under Michael Tilson Thomas; and Das Lied von der Erde with the London Philharmonic Orchestra under Sir Mark Elder in January 2013. She made her debut with the New York Philharmonic under Lorin Maazel in the world premiere of Rodion Shchedrin's The Enchanted Wanderer, returning for Mahler’s Symphony No. 2 and Verdi’s Requiem, both under Alan Gilbert.

Lilli Paasikivi’s current season opened with a performance of Schoenberg’s Gurrelieder conducted by Esa-Pekka Salonen at the Baltic Sea Festival in Stockholm. Other highlights include Mahler's Symphony No. 2 in her debut with the NHK Symphony Orchestra Tokyo under Paavo Järvi, and a new commission by Finnish composer Olli Kortekangas for the Minnesota Orchestra, again under the baton of Osmo Vänskä.

Paasikivi's celebrated work on disc includes Elgar's The Dream of Gerontius under Vladimir Ashkenazy; Beethoven's Symphony No. 9 with the Gewandhausorchester Leipzig and Riccardo Chailly; Mahler’s Symphony No. 3 with the Philharmonia Orchestra under Benjamin Zander; Mahler’s Symphony No. 8 with the London Symphony Orchestra under Valery Gergiev; Sibelius’s Kullervo under Vänskä; and Alma Mahler’s Complete Songs arranged and conducted by Jorma Panula.

Lilli Paasikivi holds the post of Artistic Director of the Finnish National Opera.

Lilli Paasikivimezzo soprano

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Simon Callownarrator

Simon Callow is an actor, author and director. He studied at Queen’s University Belfast, and then trained as an actor at the Drama Centre in London. He joined the National Theatre in 1979, where he created the role of Mozart in Peter Shaffer’s Amadeus.

His many one-man shows include The Mystery of Charles Dickens, Being Shakespeare, A Christmas Carol, Inside Wagner’s Head, Juvenalia and, most recently, The Man Jesus. He has appeared in many films including A Room with a View, Four Weddings and a Funeral, Shakespeare in Love and Phantom of the Opera, and is currently playing The Duke of Sandringham in the television series Outlander. He directed Shirley Valentine in the West End and on Broadway; Single Spies at the National Theatre; and Carmen Jones at the Old Vic, as well as the film of The Ballad of the Sad Café.

Simon has written biographies of Oscar Wilde, Charles Laughton and Charles Dickens, and three autobiographical books: Being An Actor, Love Is Where It Falls and My Life in Pieces. The third volume of his massive Orson Welles biography, One Man Band, has just been published; Inside Wagner’s Head, a short biography of Wagner, will appear this autumn. Music is Simon's great passion, and he has made many appearances with the London Philharmonic Orchestra, the London Symphony Orchestra and the London Mozart Players.

Saturday 23 April 2016 | 7.30pm Royal Festival Hall

Shakespeare400: Anniversary Gala ConcertA special gala event celebrating the greatest playwright that ever lived

Scenes from:Verdi OtelloTchaikovsky HamletVaughan Williams Serenade to Musicbritten A Midsummer Night’s DreamMendelssohn A Midsummer Night’s Dreamberlioz Roméo et Julietteprokofiev Romeo and JulietThomas Adès The TempestWalton Henry VVerdi Falstaff

Vladimir Jurowski conductorSimon Callow directorLondon philharmonic OrchestraThe glyndebourne Chorus

Soloists including:Kate Royal sopranoAllison bell sopranoDame Felicity palmer mezzo soprano Rachael Lloyd mezzo sopranoIestyn Davies countertenorToby Spence tenor Ronald Samm tenor Alasdair Elliott tenorAndrew Shore baritoneSimon Keenlyside baritoneLukas Jakobski bass

Tickets £12–£48 (premium seats £75)

London philharmonic Orchestra Ticket Office: 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone

Concert generously supported by Victoria Robey OBE and members of the Shakespeare400 Syndicate


Among the countless composers who have felt themselves drawn to William Shakespeare’s work was Jean Sibelius, a Finn known more for his rigorous treatment of abstract symphonic material than for his reflection of fictionalised human characters. Sibelius toyed with Shakespearean subject matter for a quarter of a century, sometimes producing music as a result, sometimes not. But when he eventually delivered an hour of music for a production of The Tempest – a play itself full of musical cues and shapes – the timing was just right. This was one of the last orchestral works Sibelius wrote; he was edging ever closer to a strange, ambiguous expressive hinterland that might well have characterised his destroyed Eighth Symphony

but proved remarkably evocative of Shakespeare’s curious island realm full of magic and half-reality.

Sibelius’s music for The Tempest isn’t the easiest or most consistent that flowed from his pen, and hasn’t been immune from criticism. Likewise the work we hear first tonight: Antonín Dvořák’s mammoth Piano Concerto. Some claimed it had an awkward gait, a little like Sibelius’s depiction of Shakespeare’s ‘mooncalf’ Caliban; others that it wasn’t written with the ten fingers of a pianist in mind. True enough: the Concerto is certainly ferociously difficult to play. But who said great music was always polite, smooth or easy?

Speedread

Antonín Dvořák became Europe’s nationalist composer par excellence – a sublime melodist and a fine orchestrator, able to combine the ‘classical’ Viennese style of well argued, seamlessly knit textures with his own romantic sensibility and polite use of indigenous folk material. When Dvořák had proved his worth with symphonies that seemingly fitted the square peg of folk material into the round hole of disciplined thought, America recruited the composer to be its musical lecturer-in-chief.

The Dvořák love-in ends, though, when discussion of his Piano Concerto begins. This is one piece that has caused the composer considerable posthumous problems. Rumblings began in Dvořák’s own lifetime, when pianists claimed the concerto’s solo part was ‘un-

pianistic’. Musicologists weighed in, drawing attention to ‘clumsy’ and ‘unidiomatic’ passages from the pen of a composer who was best when writing for strings (accusations Dvořák largely accepted).

In the 20th century a revised edition of the piece by pianist Wilém Kurz became a popular choice for soloists. But it was the pianist Sviatoslav Richter who led the way in returning to the composer’s original score. Tonight’s soloist does the same.

It’s not just the piano part of the Concerto that has been criticised. Some have taken issue with the actual musical argument, claiming it relies too heavily on ideas influenced by Beethoven and that its themes are simply repeated rather than ‘developed’ in the symphonic

piano Concerto, Op. 33

Stephen hough piano

1 Allegro agitato 2 Andante sostenuto3 Allegro con fuoco

AntonínDvořák

1841–1904

Programme notes


sense. That seems a rather academic point. Dvořák had spawned five symphonies by the time he came to write the Concerto in 1876 and the fluency of his orchestral writing and the seamlessness with which he journeys through the piece’s varying emotional hues are obvious. His response to themes might not be anatomical, but the sentiments are certainly natural and musical.

The Concerto is of mammoth Brahmsian proportions and unfolds over three movements. The opening Allegro agitato is muscular and full of energy, with a tussle ensuing between two themes of contrasting lyricism and urgency, the latter spiked with dashes of folk-like impudence. To end, the pianist plays a vigorous cadenza based on the movement’s first melodic idea.

The central movement has been likened to a woodland pastoral. The mood is one of radiant peace, in which the composer introduces two themes: one from a meditative horn, the other traced by the pianist as if in mid song. The delicate accompaniment is characterised by glowing woodwinds.

The finale is certainly the most Dvořák-like of the three, the mood being assuredly that of the composer’s famous Slavonic Dances. Dvořák uses a Czech folk song as his musical basis with a dotted-rhythm dance over which you can easily lay the words ‘I won’t go home, I won’t go home’ (in Czech, the words of the song Dvořák borrowed). As in the first movement, two other subsidiary themes emerge which are then called up to bring the movement to a close. As for the work’s quality, affability and standard of craftsmanship, over to you – Dvořák would have wanted his audience to decide.

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

CD: beecham – The Founding Years LpO conducted by Sir Thomas beecham

Sibelius The Tempest: Incidental Music (excerpts) (world premiere recording) Mozart Mass in C minor, K427 (excerpts) handel Israel in Egypt (excerpts) Mozart Symphony No. 35 in D, K385 (Haffner) Chabrier Rhapsody, España

LpO-0006 | £9.99

Sibelius: The Tempest on the LpO Label

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Available to download or stream online via iTunes, Spotify, Amazon and others.


The song texts are overleaf.

Overture: The ship sinks beneath the wavesAriel flies inAriel’s First Song: 'Come unto these yellow sands'Ariel’s Second Song: ‘Full fathom five thy father lies’ InterludeThe Oak Tree: Ariel plays the fluteAriel’s Third Song: ‘While you here do snoring lie’ Interlude: CalibanInterlude: MirandaHumoresqueDance of the Shapes: AntonioMelodrama: Ariel as harpyThe Shapes Dance OutIntermezzo: Alonso mournsAriel flies inAriel’s Fourth Song: ‘Before you can say “Come” and "go"’ The RainbowMelodrama: Iris Menuet: Dance of the NaiadsPolka: Dance of the HarvestersThe DogsAriel brings the foes to ProsperoAriel’s Fifth Song: ‘Where the bee sucks, there suck I’ CortègeEpilogue

As early as 1901, Sibelius’s mentor Axel Carpelan suggested the composer investigate setting Shakespeare’s The Tempest, or parts of it, to music. In 1909 Sibelius wrote two songs to verses from Twelfth Night and mulled over a bigger piece based on Macbeth. He was clearly drawn to Shakespeare, and it’s likely that the seed of Carpelan’s idea was still somewhere in

Sibelius’s mind when the Royal Danish Theatre came calling in 1925, asking the composer for incidental music to a new production of The Tempest scheduled to open in Copenhagen the following year.

The timing is fascinating. In 1925 Sibelius was edging ever closer to the creative block that would silence his final decades. But he was also beginning tentatively to explore strange new textures and harmonies in his music, the faintest clues of which were revealed in 2011 when we heard, for the first time, possible sketches for Sibelius’s Eighth Symphony. Did the curious, intangible island realm of The Tempest play a role in leading Sibelius down the path that produced those dreamlike, tonally ambiguous fragments?

Some of the 36 musical numbers Sibelius wrote – around 60 minutes of music – would suggest so. Others absolutely wouldn’t. But what those numbers do represent is the last and greatest work Sibelius wrote for the theatre, as well as some of the most fascinating and effective examples of his ability to depict character and psychology in music, whether with complex means or simple ones.

In the Royal Danish Orchestra, Sibelius had a larger than usual ensemble at his disposal – far bigger than anything in Helsinki – while the Royal Theatre offered him a chorus and soloists from its opera department too. After the first performance on 16 March 1926 – ‘Shakespeare and Sibelius, these two geniuses, have found one another’, read one review – it was agreed that the production should transfer to Helsinki the following year.

Originally, Sibelius’s Overture substituted entirely for any stage depiction of the shipwreck that opens the

JeanSibelius

1865–1957

The Tempest, Op. 109: excerpts from the Incidental Music

Simon Callow narratorLilli paasikivi mezzo soprano

Programme notes & song texts


play. The piece has been described as ‘one of the most effective and terrifying storms in all music’, but that’s hard to countenance after Britten’s Sea Interludes and nearly a century of Hollywood swashbuckling. What this prelude does do, however, is underline the mystery and intangibility of The Tempest’s entire realm: it is founded entirely on texture, without any thematic material whatsoever.

What follows tonight, rather than one or both of the usual suites compiled by Sibelius, is conductor Osmo Vänskä’s own selection of narrated excerpts from the full score. Immediately after the Overture we are in the realm of the sexless spirit Ariel, given by Sibelius to a mezzo-soprano voice whose songs form the backbone of the narrative journey plotted by Vänskä’s selection.

The composer writes for Ariel with both simplicity and imagination, linking the spirit to the elements and underlining the misty ambiguity that surrounds its antics. The pastoral D major of ‘Come unto these yellow sands’ is followed by the more brooding ‘Full fathom five’ scored with trombones, and then by the Interlude associated with Prospero (Sibelius apparently saw something of himself in this wise, shamanistic figure coming to terms with old age). In Ariel’s delightful song ‘While you here do snoring lie’, the spirit sings to wake Alonso and Gonzalo from impending danger.

Surrounding that last song is another Interlude and one of the score’s most remarkable creations, ‘The Oak Tree’, which describes Ariel’s 11-year imprisonment in a tree at the behest of Sycorax the witch. In its haunting footing – an anguished flute, an eerie ostinato – are some of the surest signs that the odd, intangible island world of Shakespeare’s play was drawing new ideas from Sibelius.

Three orchestral interludes take us into Act III, the first a portrait of Caliban and the next a shift from grinding dissonance to gently swung lullaby featuring two clarinets and a harp over muted strings (it originally reflected Miranda’s sleep in the play’s second scene). The Spanish colour of ‘Dance of the Shapes’ entwines a portrait of the usurper Alonso with the ‘several strange Shapes’, conjured up by Prospero. They lay a banquet before Ariel interrupts them in the guise of a food-snatching Harpy, a female monster with the body of a bird, prompting the Shapes to dance out again. When

Alonso realises his misdeeds – that the storm conjured by Prospero was punishment for his lack of heart – he is left to reflect on his son’s death at the hand of the storm in another heartfelt Intermezzo.

In Act IV, Ariel enters and conjures a Harvest Festival before singing the wistful ‘Before you can say “Come” and “go”’. A rainbow then appears to illuminate the event and pay homage to Iris; this in turn leads to the gentle waltz of ‘Iris’s Melodrama’. Bustling activity characterises the ‘Dance of the Naiads’ and the ensuing ‘Dance of the Harvesters’ is a graceful pastoral reflecting Ariel’s celebration. In the wake of the festivities, Caliban, Stephano and Trinculo are set on killing Prospero but their plans are thwarted when the wizard conjures up spirits in the shape of dogs to scatter them.

And so to the play’s Fifth and final act, in which Ariel fetches the villains to bring them before Prospero, the task accompanied by music that appears bent on madness before graduating onto solemnity. Prospero liberates Ariel from his service, for which Sibelius captures all the spirit’s wide-eyed delight at his new-found freedom in his strikingly original setting of the famous text ‘Where the bee sucks, there suck I’.

The final Cortège is in the shape of a Polonaise, with its roots in a work Sibelius originally wrote for the retirement of the Finnish National Theatre’s director Kaarlo Bergbom in 1905. Sibelius never set out to create a self-contained, homogenous piece of music in The Tempest, as it always depended on some element of extraneous narrative, as tonight. What’s evident from so much of that music, though, is that the great symphonist certainly had a way with musical character and psychology too.

Programme notes © Andrew Mellor


The Tempest: Song texts

Ariel’s First SongHietikolle käymme näinkäsikkäin, ystäväin.Niiatkaa ja suukotelkaa,laineet lepoon tuuditelkaa,sipsutellen pyörikaä,henget, kuoroon yhtykää.Kuulkaa, noin koira haukkuuvou – vou ...Vait, kuunnelkaa,noin kiekuvi kukko kultasuukukkelikuu – kukkelikuu.

Ariel’s Second SongSun isääs’ peittävät synkeät veet,nyt koralleiksi luunsa onja silmät helmiksi muuttuneet,on muuten ehjä ja koskematon.Hän meren helmassa saanut senon muodon kallisarvoisen.Ja vedenneidot soittavat kellojaan,soi kaiku yli maan.

Ariel’s Third SongTäällä senkun kuorsataan,vaikka konnat koukkujaanjo virittää.Henkeänne uhataan,ylös siitä sukkelaan:Nouskaa jo, herätkää,nouskaa jo, herätkää,herätkää!

Ariel’s Fourth SongEnnen kuin ehdit huokaamaan,‘tänne hoi!’ ees huutamaan,niin jo luokses’ innoissaansipsuttaa he varpaillaan.Rakastathan mua, eikö vaan?

Ariel’s Fifth SongMä mettä janooni juoda saanja kissankelloon käyn loikomaanja öisin huuhkajan hootoa kuuntelentai seljässä lepakon liitelenJa riemujen suvisten jälkehenon varjossa oksien tuoksuavainniin hauskaa ja hilpeää elellä vain.

Come unto these yellow sands,And then take hands:Curtsied when you have, and kiss’dThe wild waves’ whist:Foot it featly here and there,And, sweet sprites, the burden bear.Hark, hark! Bow-wow!The watch-dogs bark: Bow-wow!Hark, hark! I hearThe strain of strutting chanticleerCry – Cock-a-diddle-doo.

Full fathom five thy father lies;Of his bones are coral made;Those are pearls that were his eyes:Nothing of him that doth fade,But doth suffer a sea-changeInto something rich and strange.Sea-nymphs hourly ring his knell: Ding-dong.Hark! now I hear them – Ding-dong, bell.

While you here do snoring lie,Open-ey’d conspiracyHis time doth take.If of life you keep a care,Shake off slumber, and beware:Awake, awake!Awake, awake!Awake!

Before you can say, ‘Come’ and ‘go’,And breathe twice and cry, ‘So, so!’,Each one, tripping on his toe,Will be here with mop and mow.Do you love me, master? No?

Where the bee sucks, there suck I;In a cowslip’s bell I lie;There I couch when owls do cry.On the bat’s back I do flyAfter summer merrily:Merrily, merrily shall I live nowUnder the blossom that hangs on the bough.

Texts from William Shakespeare’s The Tempest


Friday 26 February | 7.30pmJTI FRIDAY SERIES

Mendelssohn Overture, A Midsummer Night's Dream*

Khachaturian Violin Concerto R Strauss Macbeth Stravinsky The Firebird Suite (1919

version)*

Andrés Orozco-Estrada conductor Kristóf baráti violin

* Please note a change to the programme from originally advertised

Saturday 5 March | 7.30pm

Tchaikovsky Symphony No. 3 Zemlinsky Six Maeterlinck Songs Szymanowski Stabat Mater*

Vladimir Jurowski conductor Elżbieta Szmytka soprano Anne Sofie von Otter mezzo soprano Andrzej Dobber baritone London philharmonic Choir

* Organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music Programme, to commemorate the 1050th anniversary of the Baptism of Poland

Wednesday 9 March | 7.30pm

Rachmaninoff Piano Concerto No. 3 Zemlinsky Die Seejungfrau (The Mermaid)

Vladimir Jurowski conductor Marc-André hamelin piano

Friday 12 February | 7.30pmJTI FRIDAY SERIES

Nicolai Overture, The Merry Wives of Windsor

Korngold Violin Concerto Elgar Symphony No. 1

Osmo Vänskä conductor hyeyoon park violin

Wednesday 24 February | 7.30pm

Tchaikovsky Violin Concerto Tchaikovsky Manfred Symphony

Vasily petrenko conductor Augustin hadelich violin

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We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

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pritchard DonorsRalph & Elizabeth Aldwinckle Mrs Arlene BeareMr Patrick & Mrs Joan BennerMr Conrad BlakeyDr Anthony BucklandPaul CollinsAlastair CrawfordMr Derek B. GrayMr Roger GreenwoodThe HA.SH FoundationDarren & Jennifer Holmes Honeymead Arts TrustMr Geoffrey KirkhamDrs Frank & Gek LimPeter MaceMr & Mrs David MalpasDr David McGibneyMichael & Patricia McLaren-TurnerMr & Mrs Andrew NeillMr Christopher QuereeThe Rosalyn & Nicholas Springer

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Anonymous Jon Claydon Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller The Jeniffer and Jonathan Harris Charitable Trust Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds* Eric Tomsett The Viney Family

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* BrightSparks Patrons: instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

principal benefactorsMark & Elizabeth AdamsDavid & Yi Yao BuckleyDesmond & Ruth CecilMr John H CookMr Bruno de KegelDavid EllenMr Daniel GoldsteinDrs Frank & Gek LimPeter MacDonald EggersDr Eva Lotta & Mr Thierry SciardMr & Mrs David Malpas Virginia SlaymakerMr & Mrs G SteinMr & Mrs John C TuckerMr & Mrs John & Susi UnderwoodGrenville & Krysia WilliamsMr Anthony Yolland

benefactorsMr Geoffrey BatemanMrs A BeareMs Molly BorthwickDavid & Patricia BuckMrs Alan CarringtonMr & Mrs Stewart CohenMr Alistair CorbettMr Timothy Fancourt QCMr Richard FernyhoughMr Gavin GrahamWim and Jackie Hautekiet-ClareTony & Susan HayesMr Daniel Heaf and Ms Amanda HillMichael & Christine HenryMalcolm HerringJ. Douglas Home

Ivan HurryMr Glenn HurstfieldPer JonssonMr Gerald LevinWg. Cdr. & Mrs M T Liddiard OBE JP RAFPaul & Brigitta LockMr Peter MaceMs Ulrike ManselMr Robert Markwick and Ms Kasia Robinski Mr Brian MarshAndrew T MillsDr Karen MortonMr & Mrs Andrew Neill Mr Roger Phillimore Mr James PickfordMr Michael PosenAlexey & Anastasia ReznikovichMr Konstantin SorokinMartin and Cheryl SouthgateMr Peter Tausig Lady Marina VaizeySimon and Charlotte WarshawHoward & Sheelagh WatsonDes & Maggie WhitelockChristopher WilliamsBill Yoe

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hon. benefactorElliott Bernerd

hon. Life MembersKenneth Goode Carol Colburn Grigor CBE Pehr G GyllenhammarMrs Jackie Rosenfeld OBE


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board of DirectorsVictoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-PresidentDr Manon Antoniazzi Roger BarronRichard Brass Desmond Cecil CMG Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rachel Masters* George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines*Timothy Walker AM Laurence WattNeil Westreich David Whitehouse** Player-Director

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london philharmonic orchestra 10 february 2016 concert programme

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