LPO Prog notes 17 Nov 10

MAHLER ANNIVERSARY

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALLWednesday 17 November 2010 | 7.30pm

KAZUSHI ONOconductor

NATHALIE STUTZMANNcontralto

RICHARD STRAUSSDeath and Transfiguration (24’)

MAHLERRückert-Lieder (17’)

INTERVAL

RAVELSuites Nos 1 and 2 from ‘Daphnis et Chloé’ (27’)

PROGRAMME £3

CONTENTS

2 List of Players3 Orchestra History4 Leader5 Kazushi Ono6 Nathalie Stutzmann7 Programme Notes12 Recordings13 Supporters14 Southbank Centre15 Administration16 Future Concerts

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

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

† supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

56301 LPO 17 November 10_56301 LPO 17 November 10 10/11/2010 15:16 Page 1

2 | London Philharmonic Orchestra

LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINSPieter Schoeman* LeaderJulia RumleyKatalin VarnagyMartin HöhmannChair supported byRichard Karl Goeltz

Geoffrey LynnFlorence SchoemanRebecca ShorrockAlain PetitclercToby TramaseurJoanne ChenKay ChappellAmanda SmithAlina PetrenkoCaroline FrenkelLisa ObertCaroline Simms

SECOND VIOLINSJeongmin Kim PrincipalJoseph MaherNancy ElanFiona HighamNynke HijlkemaAshley StevensAndrew ThurgoodDean WilliamsonSioni WilliamsAlison StrangeStephen StewartSheila LawElizabeth BaldeySteve Dinwoodie

VIOLASVicci Wardman Guest PrincipalRobert DuncanSusanne MartensBenedetto PollaniLaura VallejoDaniel CornfordAlistair ScahillIsabel Pereira

Naomi HoltSarah MalcolmMiranda DavisClaudio Cavalletti

CELLOSSusanne Beer PrincipalGregory WalmsleySantiago Sabino Carvalho+

Jonathan AylingChair supported by Caroline,Jamie and Zander Sharp

Sue SutherleySusanna RiddellHelen RathboneEmma BlackAlexandra MackenzieDavid Bucknall

DOUBLE BASSESKevin Rundell* PrincipalTim Gibbs Co-PrincipalLaurence LovelleGeorge PenistonRichard LewisTom WalleyJoe MelvinHelen Rowlands

FLUTESJaime Martin* PrincipalEilidh GillespieStewart McIlwham*

PICCOLOSStewart McIlwham* PrincipalEilidh Gillespie

ALTO FLUTESusan Thomas*

OBOESIan Hardwick PrincipalWilliam Oinn

COR ANGLAISSue Bohling PrincipalChair supported byJulian and Gill Simmonds

OBOE D’AMORETimothy Watts

CLARINETSRobert Hill* PrincipalEmily Meredith

E FLAT CLARINETNicholas Carpenter Principal

BASS CLARINETPaul Richards Principal

BASSOONSJohn Price PrincipalGareth Newman*Laurence O’Donnell

CONTRA BASSOONSimon Estell Principal

HORNSJohn Ryan PrincipalNicholas Korth Guest PrincipalMartin HobbsEmma WhitneyGareth Mollison

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

Tom RainerTony Cross

TROMBONESMark Templeton* PrincipalDavid Whitehouse

BASS TROMBONELyndon Meredith Principal

TUBALee Tsarmaklis Principal

TIMPANISimon Carrington* Principal

PERCUSSIONRachel Gledhill PrincipalAndrew Barclay* Co-PrincipalChair supported byAndrew Davenport

Keith Millar Jeremy CornesSam WaltonGary KettelMatthew DickensonEddie HackettSarah Cresswell

HARPSRachel Masters* PrincipalLucy Haslar

KEYBOARDCatherine Edwards

* Holds a professorialappointment in London

+ Chevalier of the Brazilian Order of Rio Branco

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

David and Victoria Graham FullerJohn and Angela KesslerRichard and Victoria SharpThe Tsukanov FamilySimon Yates and Kevin Roon


London Philharmonic Orchestra | 3


Patrick Harrison

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

The London Philharmonic Orchestra has been performingat Southbank Centre’s Royal Festival Hall since it openedin 1951, becoming Resident Orchestra in 1992. It playsthere around 40 times each season with many of theworld’s most sought after conductors and soloists.Concert highlights in 2010/11 include an exploration ofMahler’s symphonies and complete song cycles duringthe composer’s anniversary season; the premières ofworks by Matteo D’Amico, Magnus Lindberg and BrettDean; a rare opportunity to hear Rossini’s opera Aurelianoin Palmira in collaboration with long term partner OperaRara; and works by the Orchestra’s new Composer inResidence, Julian Anderson.

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

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

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

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

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




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

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

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

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

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

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

PIETERSCHOEMANLEADER

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

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

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

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

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

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



KAZUSHI ONOCONDUCTOR

Described as ‘one of the most fascinating musical mindsof our era’ and ‘a phenomenon’ (Le Figaro) Kazushi Onohas held the position of Principal Conductor of theOpéra de Lyon since the start of the 2008/09 season.His first season included new, award-winning andcritically acclaimed productions of Prokofiev’s TheGambler and Berg’s Lulu. Productions for the 2009/10season included Puccini’s Manon Lescaut and the worldpremière of a new work, Emilie, by Saariaho.

Kazushi Ono’s career has involved a number of highprofile positions including Principal Conductor of theTokyo Philharmonic Orchestra (1992-2001) and GeneralMusic Director of the Badisches Staatstheater (1996-2002). In 2002 he succeeded Antonio Pappano as MusicDirector of La Monnaie, Brussels, where his debutproduction of Strauss's Elektra was described by theSuddeutsche Zeitung as ‘the miracle of Brussels’. Heenjoyed six highly successful seasons at La Monnaiebefore moving to the Opéra de Lyon in September 2008.He is also Conductor Laureate of the Tokyo PhilharmonicOrchestra. These positions are testimony to theimportance he places on devoting time to buildingfoundations and forging strong relationships withorchestras.

In addition to these tenures, Kazushi Ono has been aguest conductor with some of the world’s leadinginternational orchestras such as the Boston Symphony,Israel Philharmonic, Leipzig Gewandhaus, City ofBirmingham Symphony, London Philharmonic, OsloPhilharmonic and Academia Santa Cecilia. Together withradio orchestras such as the Orchestre Philharmoniquede Radio France, Vienna Radio Symphony, Danish Radioand Finnish Radio, he has also conducted numerousGerman radio orchestras including Hamburg, Freiburg,

Stuttgart, Frankfurt and Cologne as well as the BBCSymphony and BBC National Orchestra of Wales. Thisseason Kazushi Ono made his debut with the LondonSymphony Orchestra, conducting Sibelius’s SymphonyNo. 5 at the Festival d'Aix-en-Provence.

Kazushi Ono has conducted almost all the Wagneroperas, most notably the complete Ring cycle at theKarlsruhe Opera during his tenure there from 1996 to2002 as well as several operatic world premièresincluding Luca Francesconi’s Ballata, Toshio Hosokawa’sHanjo and Philippe Boesmans’ Julie. He will return to theMetropolitan Opera, New York, this season following hissuccessful debut there with Aida in 2007. His recentguest opera engagements include Elektra at theDeutsche Oper Berlin, Verdi’s Macbeth at La Scala,Hänsel und Gretel at Glyndebourne and a newproduction of Szymanowski’s King Roger at the Opéra deParis.

He also has a strong affection for the theatre and worksnot only with established opera directors such as LucBondy, Peter Stein, Laurent Pelly and David McVicar buthas also enjoyed collaborations with artists outside thetraditional opera field such as the visual artist Jan Fabre,choreographer Anne Teresa de Keersmerker and filmdirector François Girard.

His varied catalogue of CD recordings demonstrates hiswide repertoire, ranging from Chin, Gubaidulina,Britten, Turnage and Rihm to Shostakovich, Mahler,Strauss and Tchaikovsky. Other recent recordings includea 2009 Decca DVD of the acclaimed Glyndebourneproduction of Humperdinck’s Hänsel und Gretel filmedwith the London Philharmonic Orchestra as well asreleases from the Opus Arte label featuring productionsof Aida and The Rake’s Progress, both with La Monnaie,Brussels.



NATHALIE STUTZMANNCONTRALTO

Regarded as one of the most important musicalpersonalities of our time and as the possessor of a rareand authentic contralto voice, Nathalie Stutzmann hasvery recently signed an exclusive contract withDeutsche Grammophon as a singer and conductor. Afirst recording, Prima Donna, dedicated to the greatVivaldian contraltos will be released in April 2011. Shewill sing and also conduct her own ensemble, Orfeo 55.

Nathalie Stutzmann works regularly with the mostimportant conductors such as Seiji Ozawa, Sir SimonRattle, Mariss Jansons, Sir John Eliot Gardiner, ChristophEschenbach, Jukka-Pekka Saraste and Marc Minkowskiand with the most prestigious orchestras including theBerlin Philharmonic Orchestra, Vienna PhilharmonicOrchestra, New York Philharmonic, London SymphonyOrchestra, Orquesta Nacional de España and Orchestrede Paris.

An accomplished all-round musician, NathalieStutzmann started studying the piano, bassoon,chamber music and also conducting at an early age.Parallel to her career as a singer, she devotes part ofeach season to her own chamber orchestra, Orfeo 55,created in 2009 and in residence at the Arsenal in Metz,as well as to her activities as a guest conductor.

In 2011, for the celebration of the 100th anniversary ofthe death of Gustav Mahler, Nathalie Stutzmann willgive many Mahler performances. Sir Simon Rattle hasinvited her to sing the Symphonies Nos 3 and 8 in Berlinat the Philharmonie, in London at the Royal Festival Halland in Amsterdam at the Concertgebouw. She will alsosing Mahler in Munich with the Bayerische RundfunkOrchester and Mariss Jansons, in Washington with theNational Symphony Orchestra and Christoph

Eschenbach and in Sao Paulo with the OrquestraSinfônica do Estado de São Paulo and GiancarloGuerrero. During the season, she will also sing at theSalle Pleyel in Paris, at Boston Symphony Hall and at theAuditorio Nacional in Madrid.

As a recitalist, Nathalie Stutzmann is particularlyrenowned for her interpretations of German Lied andFrench song which she performs all over the world withthe Swedish pianist Inger Södergren. In the nextmonths, the duo will appear in Paris, Tokyo, Madrid andThe Hague.

With Orfeo 55, she will perform in Paris, Amsterdam,Monte Carlo, Bordeaux and Metz as well as in Spain atthe Festival of Cuenca and in Toroella. This season, shehas been invited as a guest conductor by the KuopioSymphony Orchestra in Finland, by the PomeriggiMusicali in Milan and by the orchestras in Montpellier,Nancy and Metz to conduct music from the classicaland romantic repertoires.

Nathalie Stutzmann studied singing with her mother,Christiane Stutzmann, and then at the Ecole d’ArtLyrique de l’Opéra de Paris with Hans Hotter amongstothers. She studied conducting with Jorma Panula.

She has made more than 75 recordings. Among herrecent releases are Schubert’s Die schöne Müllerin withInger Södergren, Bach Cantatas and Brahms’s AltoRhapsody both conducted by Sir John Eliot Gardiner,Ravel’s L’Enfant et les sortilèges with the BerlinPhilharmonic Orchestra conducted by Sir Simon Rattle,and Bach’s Mass in B minor conducted by MarcMinkowski.

Nathalie Stutzmann regularly gives masterclassesthroughout the world and is a Chevalier des Arts et desLettres.

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It was Liszt who invented the term ‘symphonic poem’ todescribe orchestral works in one movement inspired byhis response to a poem, drama, painting or other extra-musical subject. Strauss greatly developed this genre,making his own symphonic poems psychological oreven in part philosophical studies. They survive,however, by their musical qualities. As Strauss put it: ‘Iam a musician first and last, for whom all“programmes” are merely the stimulus to the creationof new forms and nothing more’.

In the spring of 1889, with Macbeth and Don Juancompleted but not yet performed, Strauss began themore ambitious Tod und Verklärung (Death andTransfiguration). After a summer in Bayreuth he took upan appointment as assistant conductor at the WeimarOpera in October, and in that city the following monthhe conducted the first performance of Don Juan, whichmade him nationally famous virtually overnight. Hisnew status as the most important composer sinceWagner was confirmed the next summer when he

conducted in nearby Eisenach on 21 June the premièreof Death and Transfiguration.

He prefaced the score with a poem by Alexander Ritter,but the music inspired the poem, not vice-versa. We areto imagine a man lying on his deathbed. Racked withpain, he remembers his childhood, his early loves andhis striving towards ideals he has never attained. Atlength he dies and, transfigured, finds ‘gloriouslyachieved in everlasting space those things which couldnot be fulfilled here below’.

The music is a masterly tapestry of mainly shortmotives woven into the quasi-symphonic form of anintroduction, main movement and epilogue. In theLargo introduction one may picture the sickroom andsense the fitful beat of the dying man’s pulse. Hedreams of childhood days and youthful love, acombination of two woodwind motives and a longerdescending theme (oboe and solo violin) which beginswith an upward octave leap. A sudden change to Allegro

PROGRAMME NOTES

DEATH AND TRANSFIGURATION, OP. 24

SPEEDREAD

Before the triumphant première of Don Juan in 1889Richard Strauss was already at work on his next, moreaudacious symphonic poem, Death and Transfiguration,which he brought out successfully the following year. Hewas still only in his mid-twenties. We are to imagine adying man dreaming of childhood days and youthfullove. After a feverish struggle he dies and is transfigured,his earthly aspirations realised in an apotheosis ofperfect calm.

Gustav Mahler was four years older than Strauss, whichmeans that we are marking this year the 150thanniversary of his birth and next year the centenary of

his early death. Mahler was, like Strauss, a great songcomposer, and this evening’s five settings of poems byFriedrich Rückert are among his finest.

We end this evening with the two suites from Daphnis etChloé, the luscious masterpiece that Ravel composed forDiaghilev’s Ballets Russes. Set in ancient Greece, theballet tells the love story of a goatherd and shepherdess.When pirates abduct Chloé, Daphnis prostrates himselfbefore the god Pan, who puts the pirates to flight. Ravelsaid that he aimed to be loyal to the Greece of hisdreams, which he associated with scenes painted by18th-century French artists.

© Eric Mason

RichardSTRAUSS

1864-1949



molto agitato signals the man’s recall to his presentplight. There follows a feverish struggle, at the height ofwhich the brass introduce the transfiguration theme, arising phrase incorporating an octave leap. The oboe/violin theme of young love is tenderly recollected anddevelops into an ardent love scene with menacingintrusions by present reality. The aspiring transfigurationtheme reappears but fades into the hush of the work’sopening. With a pitiless hammering death makes its

final attack; a deep gong marks the man’s passing fromthis world.

At last his aspirations are realised. In an apotheosis ofperfect calm the earlier motives coalesce and thetransfiguration theme achieves its fullest expression.On his own deathbed sixty years later Strauss said:‘Dying is just as I composed it in Tod und Verklärung.’

© Eric Mason

PROGRAMME NOTES

The majority of Mahler’s songs are settings of Germanfolk poetry, but between 1901 and 1904 – the period ofthe Fifth and Sixth Symphonies – he became engrossedwith the poems of Friedrich Rückert (1788-1866) andset ten for voice and orchestra. Five songs form the cycleof Kindertotenlieder (Songs on the Death of Children).The other five, which we hear this evening, are separate,unconnected songs, each accompanied by a differentlyconstituted orchestra. The composer’s very carefulchoice of instrumental tone colours for each settingbrings out the musical subtlety of these songs.

In Blicke mir nicht in die Lieder, Mahler’s closestapproach to the style of Hugo Wolf, the orchestracomprises single woodwind, horn, harp and mutedstrings without basses. A softly buzzing string figuresuggests the bees to which the poem refers.

Ich atmet’ einen linden Duft is as fragrant in its music asthe poem. Its vocal line is delicately supported by singlewoodwind, horns, celeste, harp and muted violins andviolas. The poem is a play on the words lind (gentle,mild, soothing) and Linde (lime tree).

Um Mitternacht is scored for wind, harp, piano andtimpani, omitting strings. The anxiety of the awakenedsleeper, alone and apprehensive in the dark, is evoked by

an insistent three-note figure matching the poem’srepeated Mitternacht and by a scale that repeatedlydescends into the darkest depths of the orchestra. Thedeclaration of faith in the Almighty brings an instanttransformation; the timbres lighten and the scale shinesforth on the brass with firm confidence.

Mahler composed Liebst du um Schönheit as a love-songto his wife, Alma. In Gustav Mahler: Memories andLetters (John Murray) she related that she used to play alot of Wagner and that her husband slipped the songinto a score of Die Walküre. ‘He waited day after day forme to find it, but I never happened to open the volume,and his patience gave out. “I think I’ll take a look at DieWalküre today”, he said abruptly. He opened it and thesong fell out. I was overwhelmed with joy and weplayed it that day twenty times at least.’ This exquisitesong is scored for woodwind (without flutes), fourhorns, harp and strings.

Ich bin der Welt abhanden gekommen is one of Mahler’smost profoundly felt songs, sharing the mood of theAdagietto in the Fifth Symphony. The scoring is forwoodwind (without flutes), two horns, harp and strings.A cor anglais outlines the melody, which the singertakes up and extends with instrumental assistance andfinally relinquishes to the cor anglais.

RÜCKERT-LIEDER

NATHALIE STUTZMANN contralto

Blicke mir nicht in die Lieder | Ich atmet’ einen lindenDuft | Um Mitternacht | Liebst du um Schönheit | Ich bin der Welt abhanden gekommen

GustavMAHLER

1860-1911



PROGRAMME NOTES

1.Blicke mir nicht in die Lieder!Meine Augen schlag ich nieder,wie ertappt auf böser Tat. Selber darf ich nicht getrauenihrem Wachsen zuzuschauen.Deine Neugier ist Verrat!

Bienen, wenn zie Zellen hauen,lassen auch nicht zu sich schauen,schauen selbst auch nicht zu.Wenn die reichen Honigwabensie zu Tag befördert haben,dann vor allen nasche du!

2.Ich atmet’ einen linden Duft.Im Zimmer stand ein Zweig der Linde,ein Angebinde von lieber Hand.Wie lieblich war der Lindenduft.Wie lieblich ist der Lindenduft,das Lindenreis brachst du gelinde!Ich atme leis’ im Duft der Linde,der Liebe linden Duft.

3.Um Mitternachthab’ ich gewachtund aufgeblickt zum Himmel;kein Stern vom Sterngewimmelhat mir gelachtum Mitternacht.

Um Mitternachthab’ ich gedachthinaus in dunkle Schranken.Es hat kein Lichtgedankenmir Trost gebrachtum Mitternacht.

Um Mitternachtnahm ich in Achtdie Schläge meines Herzens;ein einz’ge Puls des Schmerzenswar angefachtum Mitternacht.

1.Don’t peep at my songs!I cast my eyes down,as if caught doing wrong.I do not let myself ventureto watch them grow.Your curiosity is betrayal!

Bees, when they are forming cells,don’t let one watch them either,and do not watch themselves.When the rich honeycombshave been brought to light,then be first to take your fill!

2.I breathed a gentle fragrance.In the room stood a sprig of lime,a present from a beloved hand.How lovely was the scent of lime.How lovely is the scent of lime,the twig of lime you gently plucked!I softly breathe the lime’s fragrance,the gentle fragrance of love.

3.At midnightI lay awakeand looked up to the sky;no star in the myriads of starssmiled at meat midnight.

At midnightmy thoughts wentout to the limits of darkness.No thought of lightbrought me comfortat midnight.

At midnightI took heedof the beating of my heart;a single pulse of painwas fanned into flameat midnight.



PROGRAMME NOTES

Um Mitternachtkämpft’ ich die Schlacht,o Menschheit, deiner Leiden;nicht konnt’ ich sie entscheidenmit meiner Machtum Mitternacht.

Um Mitternachthab’ ich die Machtin deine Hand gegeben!Herr! über Tod und Lebendu hältst die Wacht um Mitternacht.

4.Liebst du um Schönheit, o nicht mich liebe!Liebe die Sonne, sie trägt ein goldnes Haar!Liebst du um Jugend, o nicht mich liebe!Liebe den Frühling, der jung ist jedes Jahr!Liebst du um Schätze, o nicht mich liebe!Liebe die Meerfrau, sie hat viel Perlen klar!Liebst du um Liebe, o ja, mich liebe!Liebe mich immer, dich lieb’ ich immer,immerdar!

5.Ich bin der Welt abhanden gekommen,mit der ich sonst viele Zeit verdorben;sie hat so lange nichts von mir vernommen,sie mag wohl glauben ich sei gestorben!

Es ist mir auch gar nichts daran gelegenob sie mich für gestorben hält. Ich kann auch gar nichts sagen dagegen,denn wirklich bin ich gestorben der Welt.

Ich bin gestorben dem Weltgetümmelund ruh’ in einem stillen Gebiet!Ich leb’ allein in meinem Himmel,in meinem Lieben, in meinem Lied.

Note and English translations © Eric Mason

At midnightI fought the battle,o mankind, of your sorrows; I could not decide itwith my strengthat midnight.

At midnightI gave my strengthinto Thy hands!Lord! Over death and lifeThou keepest watchat midnight.

4.If you love for beauty’s sake, oh love me not!Love the sun, for it has golden hair!If you love for youth’s sake, oh love me not!Love the spring, which is young every year!If you love for treasure’s sake, oh love me not!Love the mermaid, she has many bright pearls!If you love for love’s sake, oh yes, love me!Love me for ever, I’ll love you for ever,evermore!

5.I have lost touch with the world,with which I used to waste much time;it has heard nothing of me for so long,it may well believe me dead!

And it does not matter at all to mewhether it takes me for dead.I can say nothing at all against that,for truly I am dead to the world.

I am dead to the world’s hurly-burlyand rest in a quiet land!I live alone in my heaven,in my loving, in my song.

INTERVAL 20 minutes

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



SUITES NOS 1 AND 2 FROM ‘DAPHNIS ET CHLOÉ’

Nocturne – Interlude – Danse guerrièreLever du jour – Pantomime – Danse générale

MauriceRAVEL

1875-1937

PROGRAMME NOTES

Ravel’s orchestral masterpiece was composed to SergeiDiaghilev’s commission for the Ballets Russes. Begun in1909, it took the composer more than two years tocomplete, the closing scene alone occupying him for afull year. There were disagreements over the scenario,and the stage production was not achieved withoutquarrels, but the ballet finally opened at the ChâteletTheatre, Paris, on 8 June 1912 with Nijinsky andKarsavina dancing the title roles and Pierre Monteuxconducting. Fokine was the choreographer and Bakstthe designer.

The ballet was not a real success, partly because itscreators had divergent conceptions of ancient Greece. Alater ballet choreographed by Sir Frederick Ashton in1951 established itself in the repertoire of Britain’s RoyalBallet, but Ravel’s score is largely self-sufficient. Thecomposer, who described it as a Symphoniechorégraphique, soon realised that the music couldstand alone in the concert hall, and for that purpose heextracted two suites of ‘symphonic fragments’.

Ravel aimed, he said, ‘to compose a broad musicalfresco, concerned less with archaic fidelity than withloyalty to the Greece of my dreams, which is associatedwith the Greece imagined and depicted by the Frenchartists of the latter part of the 18th century’. The score isconstructed, as he pointed out, like a symphony with astrict system of tonality and a small number of themes,whose recurrence ensures homogeneity. It requires alarge orchestra, and there is also a wordless choruswhich, with the composer’s sanction, is usually omittedfrom the suites.

Based loosely on a pastoral by the Greek sophist,Longus, who lived in the second or third century A.D.,the ballet tells a simple love story. Towards the end ofthe first scene Daphnis, a goatherd, lies fainting on theground, for pirates have abducted his shepherdess

sweetheart Chloé. The scene is a woodland grottosacred to the god Pan. It contains three statues ofnymphs, and one by one the nymphs (represented bysolo flute, horn and clarinet respectively) descend fromtheir pedestals and begin a slow dance. PerceivingDaphnis, they dry his tears and lead him to a rock uponwhich the form of Pan himself takes shape. Daphnisprostrates himself in supplication.

An interlude (approaching horn and trumpet calls)accompanies the scene change to the pirates’ camp on arocky coast. The pirates run to and fro, laden with bootyand bearing torches. By the light of these they breakinto the warlike dance with which the first suiteconcludes.

The second suite is the complete last scene of the ballet.Daphnis, unaware that Chloë has been saved, lies asleepas day breaks, and Ravel provides a marvellouslysensitive evocation of a woodland dawn. At first there isonly the murmur of rivulets formed by dew from therocks. As the light strengthens, birdsong is heard andtwo shepherds (piccolo and E flat clarinet) pass by.Herdsmen find Daphnis and wake him. He looks inanguish for Chloë (theme on clarinets and dividedviolas) and suddenly she appears. They rush into eachother’s arms as the sunrise theme on the strings reachesits full splendour and Pan’s intervention is mademanifest. An old shepherd (oboe solo) explains that Pansaved Chloë in remembrance of the nymph Syrinx,whom the god loved. The young couple mime the storyof Pan and Syrinx, Daphnis at one point fashioning aflute from some stalks and Chloë dancing to the tune heplays. Eventually she falls into his arms and he pledgeshis fidelity (a combination of two motto themes). Theirfriends arrive and join the reunited lovers in a joyfulDanse générale.

© Eric Mason



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

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. CDs may also bepurchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 020 78404242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

LPO-0012 Klaus Tennstedt conducts Mahler’s Symphony No. 1 and Songs of aWayfarer with Thomas Hampson

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

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

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

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

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

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

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



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

Corporate DonorLombard Street Research

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

Trusts and FoundationsAllianz Cultural FoundationThe Andor Charitable TrustRuth Berkowitz Charitable TrustThe Boltini TrustBorletti-Buitoni TrustBritten-Pears FoundationThe Candide Charitable TrustThe John S Cohen FoundationThe Coutts Charitable TrustThe Dorset FoundationThe D’Oyly Carte Charitable TrustDunard FundThe Equitable Charitable TrustThe Eranda FoundationThe Ernest Cook TrustThe Fenton Arts TrustThe Foyle FoundationThe Jonathan & Jeniffer Harris TrustCapital Radio’s Help a London ChildThe Idlewild TrustThe Emmanuel Kaye FoundationMaurice Marks Charitable TrustThe Michael Marks Charitable TrustMarsh Christian Trust

UK Friends of the Felix-Mendelssohn-BartholdyFoundation

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

FoundationThe Swan TrustJohn Thaw FoundationThe Underwood TrustGarfield Weston FoundationYouth Music

and others who wish to remainanonymous.

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

Thomas Beecham GroupMr & Mrs Richard & Victoria SharpJulian & Gill SimmondsThe Tsukanov FamilySimon Yates & Kevin Roon

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

Guy & Utti Whittaker

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

Commander Vincent EvansMr Daniel GoldsteinMrs Barbara GreenOliver HeatonPeter MacDonald EggersMr & Mrs David MalpasAndrew T MillsMr Maxwell MorrisonMr Michael PosenMr & Mrs Thierry Sciard

Mr John Soderquist & Mr CostasMichaelides

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

BenefactorsMrs A BeareDr & Mrs Alan Carrington

CBE FRSMarika Cobbold & Michael

Patchett-JoyceMr & Mrs Stewart CohenMr Alistair CorbettMr David Edgecombe

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

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

Hon. BenefactorElliott Bernerd

Hon. Life MembersKenneth GoodeMrs Jackie Rosenfeld OBE

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



WELCOME TO SOUTHBANK CENTRE

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

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

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

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

PHOTOGRAPHY is not allowed in the auditorium

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

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

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

SOUTHBANK CENTREFREE Pre-Concert Event Royal Festival Hall

1 December 2010 | 6 pm

Vladimir Jurowski conductor

FOYLE FUTURE FIRSTSorchestral apprenticeship programme

Mahler Lieder eines fahrenden Gesellen(with Njabulo Madlala baritone)

Kancheli Exil(with Allison Bell soprano)

The Foyle Future Firsts programme is generously funded by theFoyle Foundation with additional support from The D’Oyly CarteCharitable Trust, The Eranda Foundation, The Fenton Arts Trustand the Musicians Benevolent Fund.



ADMINISTRATION

BOARD OF DIRECTORS

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

THE LONDON PHILHARMONIC TRUST

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

AMERICAN FRIENDS OF THELONDON PHILHARMONICORCHESTRA, INC.

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

PROFESSIONAL SERVICES

Charles RussellSolicitors

Crowe Clark Whitehill LLPAuditors

Dr Louise MillerHonorary Doctor

GENERAL ADMINISTRATION

Timothy Walker AM †Chief Executive and Artistic Director

Alison AtkinsonDigital Projects Manager

FINANCE

David BurkeGeneral Manager andFinance Director

David GreensladeFinance and IT Manager

CONCERT MANAGEMENT

Roanna ChandlerConcerts Director

Ruth SansomArtistic Administrator

Graham WoodConcerts, Recordings andGlyndebourne Manager

Alison JonesConcerts Co-ordinator

Jenny ChadwickTours and EngagementsManager

Jo OrrPA to the Executive / Concerts Assistant

Matthew FreemanRecordings Consultant

EDUCATION ANDCOMMUNITY PROGRAMME

Anne FindlayEducation Officer

Isobel TimmsCommunity Officer

Alec HaylorEducation and Community Assistant

Richard MallettEducation and Community Producer

ORCHESTRA PERSONNEL

Andrew CheneryOrchestra Personnel Manager

Sarah ThomasLibrarian

Michael PattisonStage Manager

Camilla BeggAssistant Orchestra PersonnelManager

Ken Graham TruckingInstrument Transportation(Tel: 01737 373305)

DEVELOPMENT

Nick JackmanDevelopment Director

Phoebe RouseCorporate Relations Manager

Sarah TattersallCorporate Relations and Events Manager

Melissa Van EmdenCorporate Relations and Events Officer

Elisenda AyatsDevelopment and FinanceOfficer

MARKETING

Kath TroutMarketing Director

Ellie DragonettiMarketing Manager

Frances CookPublications Manager

Samantha KendallBox Office Administrator(Tel: 020 7840 4242)

Charly Fraser-AnnandIntern

Valerie BarberPress Consultant(Tel: 020 7586 8560)

ARCHIVES

Edmund PirouetConsultant

Philip StuartDiscographer

Gillian PoleRecordings Archive


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

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

The London PhilharmonicOrchestra Limited is aregistered charity No. 238045.

Photographs of Strauss,Mahler and Ravel courtesy ofthe Royal College of Music,London.

Photograph on the front cover by Pip Eastop.

Programmes printed by Cantate.

†Supported by Macquarie Group



FUTURE CONCERTSAT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

Wednesday 24 November 2010 | 7.30pm

Stravinsky Scherzo fantastiqueProkofiev Piano Concerto No. 3Shostakovich Symphony No. 11

Vasily Petrenko conductorOleg Marshev piano

6.15pm–6.45pm | FREE Pre-Concert EventRoyal Festival HallWriter and broadcaster David Nice explores ‘ASymphony of revolutionary songs: Shostakovich’sindividuality versus the spirit of 1905’.

JTI FRIDAY SERIESFriday 26 November 2010 | 7.30pm

Mozart Piano Concerto No. 25, K503Bruckner Symphony No. 9

Günther Herbig conductorAndreas Haefliger piano

MAHLER ANNIVERSARYWednesday 1 December 2010 | 7.30pm

Debussy (orch. Colin Matthews) Préludes: Des Pas sur laneige; La Cathédrale engloutie; Feux d’artificeBritten Les IlluminationsMahler Symphony No. 4

Vladimir Jurowski conductorChristine Schäfer soprano

6.00pm–7.00pm | FREE Pre-Concert EventRoyal Festival HallA performance of chamber music including GiyaKancheli’s Exil by the Orchestra’s outstanding youngapprentice musicians conducted by Vladimir Jurowski.

MAHLER ANNIVERSARYSaturday 4 December 2010 | 7.30pm

Beethoven Piano Concerto No. 4Mahler Symphony No. 1 (original version includingBlumine)

Vladimir Jurowski conductorHélène Grimaud piano

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

Wednesday 15 December 2010 | 7.30pm

Beethoven Overture, EgmontMartinů Violin Concerto No. 2Julian Anderson The Stations of the SunNielsen Symphony No. 5

Jukka-Pekka Saraste conductorFrank Peter Zimmermann violin

Supported by The Boltini Trust

6.15pm–6.45pm | FREE Pre-Concert EventRoyal Festival HallThe Orchestra’s new Composer in Residence JulianAnderson discusses his role and looks at the evening’sperformance of The Stations of the Sun.

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

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

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

Günther Herbig andAndreas Haefliger

Vladimir Jurowskiand HélèneGrimaud

Vasily Petrenko andOleg Marshev


LPO Prog notes 17 Nov 10

Documents

london chevalier

piccolosstewart mcilwham

duke of kent kgchief

principalanne mcaneney

daphnis et chlo

macquarie groupconcert

intervalravelsuites