LPO Tune In newsletter – Spring/Summer 2015

– ISSUE FOUR – – SPRING / SUMMER 2013 –– SPRING / SUMMER 2015 –

vladIMIR jUROwSkI

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LPO Principal Conductor & Artistic Advisor’s contract renewed

cONtEMPORaRIES

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An exciting year ahead for young supporters of London’s cultural scene

BackStaGE

– 16 –

Meet the Orchestra’s new Principal E-flat Clarinet, Thomas Watmough

Quite apart from the most elegant conducting

style in the business, Jurowski programmes with an imagination matched by none of

London’s other principal conductors.

The Arts Desk

Corporate MembersAREVA UKBerenberg

British American BusinessCarter Ruck

Appleyard & Trew LLPCharles Russell

Leventis Overseas

Preferred PartnersCorinthia Hotel London

Heineken Lindt & Sprüngli Ltd

Sipsmith Steinway

Villa Maria

In-kind SponsorsGoogle Inc

Sela / Tilley’s Sweets

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New releases on the LPO Label

Browse the catalogue and sign up for updates at lpo.org.uk/recordings

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

Download or stream online via iTunes, Amazon, Spotify and others.

CD: Messiaen Des canyons aux étoilesChristoph Eschenbach conductor

Tzimon Barto piano | John Ryan horn

Andrew Barclay xylorimba

Erika Öhman glockenspiel£10.99 (2 CDs)

LPO-0083 | Available March 2015

CD: Vaughan Williams Symphonies Nos. 4 & 8Ryan Wigglesworth conductor (No. 4)

Vladimir Jurowski conductor (No. 8)

£9.99

LPO-0082 | Available February 2015

Coming soon

Coming soon

Principal Partner

Principal Supporters

Education Partner

CD: Organ works by Poulenc & Saint-SaënsYannick Nézet-Séguin conductor

James O’Donnell organ

Recorded at Southbank Centre’s Royal Festival Hall in March 2014

£9.99

LPO-0081 | Released November 2014

CD: Shostakovich Symphonies Nos. 6 & 14Vladimir Jurowski conductor

Tatiana Monogarova soprano

Sergei Leiferkus baritone

£9.99

LPO-0080 | Released October 2014

LP Box Set: The Complete Brahms SymphoniesVladimir Jurowski conductor

£85.00 (4 LP box set)

LPO-LP906 | Released November 2014

tUNE IN – SPRING / SUMMER 2015 –

Welcome to the Spring 2015 edition of the London Philharmonic Orchestra newsletter, Tune In. We’re now halfway through

the 2014/15 season, and our ongoing Rachmaninoff: Inside Out festival is well under way. We’ve all been enjoying getting to know Rachmaninoff’s music better, and look forward to much more to come this spring.

One of the greatest pleasures of the festival has been experiencing Rachmaninoff’s music brought into sharper focus through hearing it alongside the music of his contemporaries and those who influenced him. One of those composers with whom Rachmaninoff shares a programme this spring is George Enescu, the Romanian composer whose rarely performed Third Symphony we will hear on 7 February. Enescu is not the most familiar of names to many UK audiences, but this concert promises to be an unmissable event – Enescu expert Sir Noel Malcolm gives us a taste of what to expect on page 11. The Orchestra also continues its commitment to new music with several exciting premieres over the next few months: turn to page 6 to find out more about these new works by Magnus Lindberg, Julian Anderson, James Horner and Colin Matthews.

Elsewhere in this issue you can catch up on all the Orchestra’s news from the autumn, including a whirlwind of international tours from Iceland to China (page 4), as well as the latest projects from our Education & Community team, who have been working with everyone from young instrumentalists making their Royal Albert Hall debut (Animate Orchestra, page 7) to London adults experiencing homelessness (JTI Cross-Partner Project, page 10).

– tIMOthy walkER – Chief Executive and Artistic Director

Editor Rachel WilliamsPublisher London Philharmonic OrchestraPrinter Conquest Litho Ltd

Cover photo Vladimir Jurowski © Drew Kelley

While every effort has been made to ensure the accuracy of this publication, we cannot accept liability for any statement or error contained herein. © 2015 London Philharmonic Orchestra.

The paper used for printing this magazine has been sourced from responsibly managed forests, certified in accordance with the FSC (Forest Stewardship Council). It is manufactured to the ISO 14001 international standard, minimising negative impacts on the environment and is manufactured from pulp that has been bleached without the use of chlorine compounds using oxygen (elemental chlorine free), which are considered harmful to the environment.

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kEEP UP tO datE

jOIN US ON FacEBOOk facebook.com/londonphilharmonicorchestra

FOllOw US ON twIttER twitter.com/LPOrchestra

lIStEN tO OUR POdcaStS lpo.org.uk/explore

In our regular ‘Backstage’ interview feature on page 16 we get to know one of the Orchestra’s newest members, Thomas Watmough, who joined us recently as Principal E-flat Clarinet. There’s another peek behind the scenes with our players on page 9, where we find out how some of the Orchestra’s members like to relax when they’re not busy preparing for concerts.

This year the London Philharmonic Orchestra is one of a select few organisations to have been afforded a once-in-a-lifetime opportunity to secure its long-term future through a special Catalyst Endowment Award from Arts Council England. Through this award, ACE will double the value of all gifts from new donors before 30 April 2015 up to a maximum value of £1 million. Find out more about this unique opportunity on page 12.

If you’d like to get in touch with us about anything in this issue – or about any of the Orchestra’s activities – we’d love to hear from you. Get in touch via Twitter or Facebook (links below), email us at [email protected], or call us on 020 7840 4200. Alternatively, do come and say hello at the LPO information desk in the Royal Festival Hall foyer on concert nights.

I hope you will be able to join us this spring. Thank you for your support of the London Philharmonic Orchestra.

2015/16 season launchBooking for our new season opens on Wednesday 4 February 2015. To take advantage of priority booking (from Monday 26 January), become a Friend of the London Philharmonic Orchestra for as little as £50 a year. Call Kathryn Hageman on 020 7840 4212 or visit lpo.org.uk/support/memberships

– 03 –

Full concert listings and booking information on pages 13–15

cONtENtS

NEw & NOtEwORthy 04–07 cONtEMPORaRIES 08

ESPa lIFE at cORINthIa 09EdUcatION & cOMMUNIty 10 ENEScU: SyMPhONy NO. 3 11

SOUNd FUtURES 12cONcERt lIStINGS 13–15

BackStaGE: thOMaS watMOUGh 16

lpo.org.uk

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lONdON PhIlhaRMONIc ORchEStRa aNd vladIMIR jUROwSkI ExtENd PaRtNERShIP

At the end of September the London Philharmonic Orchestra was delighted to announce that its longstanding and celebrated partnership with Vladimir Jurowski, Principal Conductor and Artistic Advisor, will continue until at least 2018.

Since Jurowski’s Royal Festival Hall debut with the Orchestra in 2001, we have continued to forge an ever-strengthening bond. In 2003 he was appointed Principal Guest Conductor, followed by his current appointment as Principal Conductor in 2007. He took on the additional role as Artistic Advisor in 2012.

The original five-year contract, now regarded by both parties as ongoing, will continue until at least 2018 and will see Jurowski working with us for a minimum of 12 weeks a year both at home and abroad.

Timothy Walker, LPO Chief Executive and Artistic Director, said: ‘Everyone at the LPO is thrilled that Vladimir has committed to stay with us until at least 2018. His partnership with the players has been an inspiration to all of us and our audiences around the world since the very beginning. His commitment to the Orchestra, his distinctive and always fascinating programming ideas and sheer brilliant musicianship have captivated everyone. We couldn’t be more excited about what the future holds for us.’

REad MORE aBOUt vladIMIR jUROwSkIlpo.org.uk/about/jurowski

Vladimir’s chair is generously supported by the Tsukanov Family Foundation.

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tOURING NEwS

One of the Orchestra’s busiest ever touring seasons kicked off in the autumn with a hugely successful major tour to the USA and Canada. The concerts in California, New York, Toronto and Chicago went down a storm with sell-out audiences and press alike, with a critic from the Orange County Register in California declaring that ‘the London Philharmonic Orchestra is a luxury model among orchestras. The

strings are formidable; they purr like an idling semi and take off like a freight train’, and the Toronto Star describing how ‘audience members got a rare chance to see the Ferrari of orchestras rev its fine-tuned engines.’ Later in the autumn the Orchestra travelled to Germany for concerts in Dortmund, Essen and Baden-Baden with Yannick Nézet-Séguin, and Cologne, Stuttgart, Freiburg, Munich, Friedrichshafen, Hamburg and Hannover with Vladimir Jurowski.

The run-up to Christmas saw the Orchestra’s first ever visit to Iceland where, with conductor Osmo Vänskä and pianist Leif Ove Andsnes, we gave two concerts on 18 & 19 December at Harpa, a stunning new waterfront concert hall in Reykjavík. This tour was an exciting venture for the Orchestra, particularly as we were the first British orchestra to perform at the venue.

After a short but well-deserved Christmas break, the Orchestra celebrated New Year in China, giving two concerts with conductor Vassily Sinaisky and pianist Behzod Abduraimov at the ultra-modern Guangzhou Opera House, a venue the Orchestra last visited shortly after it opened in 2011. This tour also included five further concerts in Shenzhen, Shanghai and Beijing before returning to London on 7 January.

The end of January sees another European tour: following the Royal Festival Hall performance of Verdi’s Requiem under Vladimir Jurowski on 24 January, the Orchestra will take the work to the Auditorio Nacional de Música, Madrid (30 January) and Paris’s Théâtre des Champs Elysées (3 February). The Madrid performance will be followed by a second concert the next night featuring works by Wagner, Shostakovich and Tchaikovsky with cellist Sol Gabetta, repeated in Pamplona the next day. From 17–20 February another short tour takes the Orchestra to The Netherlands and Belgium where, with conductor Marin Alsop, they will give four all-Beethoven performances before bringing the same programme home to a Royal Festival Hall audience on 21 February.

Later this spring (3–6 March) the Orchestra will visit Istanbul’s İş Sanat Arts & Culture Centre and Mannheim’s Kultur und Kongresszentrum in Germany for two concerts featuring works by Beethoven, Schumann and Mendelssohn with conductor Christoph Eschenbach and violinist Ray Chen, following the London performance of the same programme on 25 February.

Don’t forget you can keep up with all our tour adventures on Twitter: @lporchestra

FINd OUt MORElpo.org.uk/about/on-tour

The LPO truck at the Mont Blanc Tunnel between France and Italy, with Transport Manager Damian Davis

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lpo.org.uk

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Our annual ‘Carols at Waterloo’ event has become a regular fixture in the run-up to Christmas, and we returned on 8 December 2014 to bring some festive cheer to commuters at Waterloo railway station. An ensemble of LPO brass players and London Philharmonic Choir singers spent the evening rush hour entertaining commuters, raising over £2,300 for Save The Children.

latESt RElEaSES ON thE lPO laBEl

In October we released a disc of Shostakovich’s Symphonies Nos. 6 & 14 conducted by Vladimir Jurowski. The CD received great reviews, with BBC Music Magazine selecting it as November’s Recording of the Month and the reviewer declaring it ‘by far the most stunning Shostakovich disc I have heard this year’. The disc was also profiled on BBC Radio 3’s CD Review programme, with presenter Andrew McGregor noting: ‘What a scintillating account

it is, with Jurowski and the LPO using the live concert adrenaline to bring thrilling edge and excitement to the sound ... No wonder the LPO has just extended Jurowski’s contract.’

One of last season’s most memorable concerts was the celebration of the refurbished Royal Festival Hall organ on 26 March 2014, and in November we were delighted to release a CD of the concert. It features Poulenc’s Organ Concerto and Saint-Saëns’s Symphony No. 3 (Organ), conducted by Yannick Nézet-Séguin with Westminster Abbey organist James O’Donnell.

Also released in November was a very special 4-LP box set of Brahms’s complete four symphonies conducted by Principal Conductor and Artistic Advisor Vladimir Jurowski. These recordings – of live LPO concerts at Southbank Centre’s Royal Festival Hall between 2008 and 2011 – have previously been released as two separate LPO Label CDs, but are now brought together in one package for the first time in this exclusive box set, which is a must-have for lovers of Brahms, Jurowski fans and vinyl enthusiasts alike. It is priced at £85.00.

In the pipeline for February 2015 is a disc featuring live concert performances of Vaughan Williams’s Symphonies Nos. 4 & 8, conducted by Ryan Wigglesworth and Vladimir Jurowski respectively. This will be followed in March by Messiaen’s Des canyons aux étoiles conducted by Christoph Eschenbach, also recorded live at Royal Festival Hall on 2 November 2013.

All LPO Label single CDs are priced at £9.99 (double CDs £10.99) and are available including free postage from the LPO Ticket Office – call 020 7840 4242 or buy at lpo.org.uk/recordings. All recordings are also available to download from iTunes, Amazon, Spotify and others.

BROwSE all REcORdINGS aNd BUy ONlINElpo.org.uk/recordings

‘a GUIdE tO thE ORGaN’ SERIES

This season Dr William McVicker, curator of the Royal Festival Hall organ, will give a series of pre-concert talks about the instrument. This series is supported by the Heritage Lottery Fund following its support of the refurbishment of the organ. The next talk will be on 25 April 2015.

FINd OUt MOREsouthbankcentre.co.uk/whatson

Trumpeter Alison Balsom, touring with the LPO in April

Following the success of our previous ‘Live and Local’ concerts since the launch of the series in 2013, we are delighted to announce more concerts across the UK in April 2015. We will give concerts in Manchester, Leeds and Stoke-on-Trent with trumpeter Alison Balsom. Thanks to the generous support of our long-term corporate partner JTI, all tickets to each concert are just £15 (excluding booking fees).

FUll cONcERt dEtaIlSlpo.org.uk/liveandlocal

lPO acROSS thE Uk: jtI lIvE & lOcal 2015

yOUNG ORchEStRa FOR lONdON

This spring the London Philharmonic Orchestra is delighted to be involved in the brand new ‘Young Orchestra for London’. To celebrate the joint residency by the Berlin Philharmoniker and Sir Simon Rattle at both Southbank Centre and the Barbican in February 2015, the two venues have teamed up to form a 100-piece mixed-ability orchestra comprising young people from all 33 London boroughs. Our LPO musicians will be supporting the young players as they work towards two landmark performances conducted by Sir Simon.


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NEw & NOtEwORthy cONtINUEdlPO NEwS

PREMIERES thIS SPRINGThe Orchestra’s commitment to new works continues in 2015, with a number of premieres at Royal Festival Hall. On 28 January, soprano Barbara Hannigan will give the world premiere of Accused: three interrogations for soprano and orchestra by LPO Composer in Residence Magnus Lindberg, conducted by Vladimir Jurowski. There’s more music by Lindberg on 21 March, when Yefim Bronfman gives the UK premiere of his Second Piano Concerto – a work, according to the composer, inspired by Ravel’s Piano Concerto for the Left Hand and Bartók’s Second Piano Concerto. Bronfman gave the world premiere of the Concerto with the New York Philharmonic in 2012, leading the New York Times critic to declare: ‘Bronfman is a pianist who can seemingly play anything. It took all of his technique and stamina to dispatch this monster concerto.’

On 14 March we are delighted that Carolin Widmann will give the world premiere of a violin concerto, In lieblicher Bläue, by Lindberg’s predecessor Julian Anderson, commissioned by the LPO during his time with us as Composer in Residence.

James Horner, best known for the scores to films Titanic and Avatar, has composed a new work for four horns and orchestra, which will receive its world premiere on 27 March. The soloists will be LPO Principals David Pyatt and John Ryan, along with James Thatcher and Richard Watkins. It will be conducted by former LPO Principal Flute Jaime Martín, who is now making an impressive name for himself on the international conducting scene.

FINd OUt MORE aNd BOOk ONlINElpo.org.uk/performances

Soprano Barbara Hannigan, who gives the world premiere of Magnus Lindberg’s Accused on 28 January 2015

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thE PIEd PIPER OF haMElIN: a wORld PREMIERE FOR chIldREN

On Sunday 8 February 2015 at 12 noon, children’s author Michael Morpurgo (War Horse, The Mozart Question) and Colin Matthews, one of today’s most exciting composers, team up with the London Philharmonic Orchestra to present the world premiere of The Pied Piper of Hamelin at Royal Festival Hall. The timeless story of the travelling flute player and the rich, greedy mayor is compellingly and movingly told through the eyes of a young boy – one of Hamelin’s Thief-Dogs. Vladimir Jurowski conducts, with Michael Morpurgo himself narrating. The performance is suitable for children aged 7 and over. Tickets are £14–18 for adults and half price for under-16s. Book now at lpo.org.uk or call the LPO Ticket Office on 020 7840 4242.

The Pied Piper of Hamelin is commissioned by the London Philharmonic Orchestra with the generous support of the PRS for Music Foundation.

FINd OUt MORE aNd BOOk ONlINElpo.org.uk/performances

The London PhiLharmonic orchesTra and michaeL morPurgo PresenT

The Pied PiPer of hamelinA live performAnce for Ages 7 And overSunday 8 February 2015 12.00 noon — 1.00pmsouthbAnk centre’s royAl festivAl hAll

Vladimir Jurowski conductormichael morpurgo author/narrator colin matthews composer london philharmonic orchestra

LP06_LPO_PiedPiper_A5_2pp_Flyer_AW.indd 1 11/09/2014 11:10

Glyndebourne Festival Opera’s 2015 season opens on 21 May and will run until 30 August. During the summer the London Philharmonic Orchestra will give performances of Donizetti’s rarely staged Poliuto under Enrique Mazzola (the opera’s UK premiere); Bizet’s Carmen under Jakub Hrůša (a revival of the 2002 Festival production); Britten’s The Rape of Lucretia under Leo Hussain, making his Festival debut; and a Ravel double-bill of L’heure espagnole and L’enfant et les sortilèges under Glyndebourne Music Director Robin Ticciati (a revival of the 2012 Festival production). Early access to tickets is available for corporate and individual supporters of the LPO.

FINd OUt MORElpo.org.uk/about/glyndebourne

lpo.org.uk/support

GlyNdEBOURNE FEStIval OPERa 2015 SEaSON

lpo.org.uk

– 07 –


IN thE OFFIcE

During the autumn we welcomed Samanta Berzina to the admin team as Finance Officer, Catherine Faulkner as Development Events Manager and Anna Quillin as Trusts and Foundations Manager. Sarah Breeden also joined us as interim Publications Manager, covering for Rachel Williams who is on maternity leave from January 2015.

FINd a StaFF MEMBER lpo.org.uk/about/staff

jOBS at thE lPO lpo.org.uk/about/jobs

wEddING BEllS

Congratulations to Victoria Sharp OBE, Chairman of the LPO Board of Directors, who married Simon Robey on 1 November 2014. We wish them both all the best for the future.

NEw aRRIval

Congratulations to LPO Leader Pieter Schoeman and First Violin Katalin Varnagy on the birth of their daughter Katika, born on 10 November 2014.

RaFaEl FRühBEck dE BURGOS

We were saddened to hear of the death of conductor Rafael Frühbeck de Burgos on 11 June 2014. Our concert on Friday 17 April 2015, which was due to be conducted by Frühbeck de Burgos, will now be conducted by Omer Meir Wellber.

BUy yOUR cONcERt PROGRaMME ONlINE

You can now save time by buying your concert programme at the same time as booking your concert tickets at lpo.org.uk. At the checkout stage, just choose the option to add a £3 programme voucher

to your basket, which you can exchange at Royal Festival Hall for a programme on the night.

You can also now redeem LPO credit vouchers and gift vouchers online as well as by phone, as full or part payment for LPO concert tickets and CDs at lpo.org.uk

NEw xylOPhONE FOR thE lPO

In the autumn the Orchestra took delivery of a very special new instrument. Principal Percussionist Andrew Barclay explains:

‘The new xylophone is a Deagan, made in America

about 100 years ago. In those days the wood was of a much better quality and it is now highly sought-after. The wonderful chaps Bill Youhass and Rick Byers from Fall Creek Marimbas in New York State renovate old instruments. We spotted this xylophone on their website – it had been fully restored to its former glory, the frame cleaned and re-assembled, the resonators mended, cleaned and polished and the notes cleaned, repaired and tuned. Some notes were replaced with equivalents from some of the other similar xylos in their collection.

‘However, given the hectic schedule we follow and the amount of moving about our instruments have to endure, we felt the old-fashioned frame wouldn’t last long. With the advice and help of Graham Johns (Principal Percussionist with the Royal Liverpool Philharmonic and owner of JAM Percussion), we had new note beds made in the US, which were fitted to a slightly adapted modern marimba frame. The result? A beautiful instrument with notes and resonators made during the First World War, mounted on gorgeous hardwood mountings and all gliding around on a brand new heavy-duty frame. The tone of the instrument is lovely: warm but penetrating with very interesting overtones that make its sound unique. As Graham Johns put it, “I believe the LPO is the first London orchestra to own such a special xylophone. We are the custodians of these instruments for future generations... Enjoy!” I couldn’t have put it better myself.’

lpo.org.uk

2015 aNNUal Gala

We are delighted to announce that the London Philharmonic Orchestra’s Annual Gala will take place on Wednesday 17 June 2015 at One Marylebone. We are very much looking forward to hosting what promises to be another wonderful evening in stunning surroundings. One Marylebone, in the heart of London, is one of the UK’s finest examples of Neoclassical architecture and a beautiful backdrop for a very special night. Alongside musical recitals, the evening will include a champagne and canapé reception in the Galleries and a seated dinner in the striking Soane Hall. The evening will culminate in an auction, for which we have already garnered some fabulous prizes.

Formal invitations will be sent out shortly. To find out more please contact 020 7840 4207 or email [email protected]

FINd OUt MORElpo.org.uk/support/gala

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Concert programmelpo.org.uk

aNIMatE ORchEStRa vISItS thE ROyal alBERt hall

Animate Orchestra recently made its Royal Albert Hall debut at the Music For Youth Schools Proms. This creative ensemble for children aged 9–14 is run by the LPO in partnership with Trinity Laban and four South London music services, which together make up the South Riverside Music Partnership. Playing alongside musicians from Junior Trinity and a 500-strong schools’ choir, Animate performed the world premiere of British composer Kerry Andrew’s piece The London Breed. One parent commented afterwards: ‘The whole event was spectacular ... we are so lucky that these opportunities are available and were immensely proud!’

Animate Orchestra is generously supported by the Mayor’s Fund for Young Musicians and Youth Music.

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lPO cONtEMPORaRIES

lONdON yOUNG PatRONS’ PaRty

The London Philharmonic Orchestra is delighted to be teaming up with some of the capital’s most prestigious cultural institutions for a special

event on 24 February 2015 celebrating young patrons of the arts.

Bringing together the LPO’s Contemporaries group with young patrons from the likes of English National Opera, the Royal Court Theatre, The Photographers’ Gallery

and Sadler’s Wells Theatre, this evening event on 24 February will showcase the dynamism of London’s arts organisations and the young professionals who are invested in ensuring their continued growth and development for generations to come.

This joint cross-arts event will be the first of its kind and will be held in a fittingly unique venue: London’s Living Room at City Hall.

As one of the first arts organisations to launch a young patrons’ scheme, the LPO has always been at the forefront of encouraging culturally inquisitive people at the start of their professional careers to engage in the arts. Chris Rogers, Chairman of the Contemporaries Committee said: ‘I am delighted that the LPO is taking the lead with

this event. Following the establishment of the Contemporaries some years ago it’s really exciting that the Orchestra is now joining forces with other leaders in the London arts scene to celebrate and shout about what we are doing. I hope that this will encourage others to make the most of their young supporters, as well as sharing ideas between organisations as to how to do it well. This is not just about the money that our younger members are giving, but about investing in the future: I want us to get the message out there that there is little more satisfying than sharing your passion for the arts with others, while at the same time helping to ensure that London remains the world’s creative capital.’

In addition to young patrons and representatives from each organisation, guests will include key figures from across government, business and the arts. We hope that this event will serve to highlight young patrons’ schemes as a way of becoming

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involved in supporting the arts in a more meaningful way, and that it will showcase the innovative ways in which arts organisations across the capital are evolving to meet the needs of their audiences.

We are extremely grateful for the help of the Mayor of London’s Music Fund for Young Musicians, Greater London Authority, Villa Maria wines and Sipsmith Distillery for assisting us in securing complimentary venue hire and drinks sponsorship for this event. There are still opportunities to participate as either an in-kind or title sponsor of the event: these can be discussed by contacting Kathryn Hageman on 020 7840 4212 or [email protected].

Don’t miss out – join Contemporaries now!

The LPO’s Contemporaries membership is the ideal way to enjoy world-class music with a group of like-minded individuals who share the same passion, and experience some of the best the capital has to offer on the Southbank and beyond!

Members enjoy a bespoke season of three ‘must see’ concerts each year, along with a delicious cocktail during the interval at our Sipsmith Bar. Additional benefits include 20% off at Skylon restaurant, priority booking for all other concerts, evenings with our luxury partners and reciprocal events with other cultural organisations, access to members’ rehearsals and the infamous Christmas Party.

Join us for the remaining two concerts of the season, and this celebratory event in February, from just £70. Contact [email protected] or 020 7840 4212.

FINd OUt MORElpo.org.uk/contemporaries

LPO Contemporaries: the ideal way to enjoy world-class music with a dynamic group of like-minded individuals nd!

lpo.org.uk/contemporaries

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Meet our members: lpo.org.uk/players

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ESPA Life at Corinthia

Set in a beautifully serene space, ESPA Life at Corinthia is quite simply the Next Generation Spa. With surfaces of black Italian marble, polished chrome and textured leather, the space is a stylish setting for an holistic approach to wellness. A spacious sanctuary spread over four floors, ESPA Life at Corinthia brings together an expert team to offer luxury spa treatments, alternative therapies, fitness, nutrition, beauty, and Hair by Daniel Galvin.Are you in need of a relaxing retreat? Explore a range of Day Spas, treatments and spa experiences specially crafted to relax and revive the mind, body and soul. espalifeatcorinthia.com

tIME OUt at ESPa lIFE at cORINthIalPO PlayERS

Last autumn was a particularly busy period for the Orchestra, with the launch of our Rachmaninoff festival as well as tours to Italy, Germany, Spain, the USA, Iceland and China. Our

preferred hotel partner, Corinthia London, wanted to help a few of our musicians relax, so invited Lyndon Meredith (Principal Bass Trombone), Ji Hyun (Jiji ) Lee (First Violin) and Martin Hobbs (Horn) to enjoy a well-deserved break at ESPA Life at Corinthia between a rehearsal and an evening concert.

What do you like to do to relax when you aren’t busy in rehearsals or performances?

Lyndon: Exercise is extremely important in helping me relax. This job is both physically and mentally demanding, so keeping fit and active really helps. I also really enjoy good food and getting plenty of sleep.Martin: I like to relax by getting out on my bike. I also like to run and two of my boys have started getting into it too – we often take part in our local Parkrun together on a Saturday morning. Jiji: I prefer to relax mentally rather than physically! I’ve just started flower arranging classes, which I’m really enjoying. I also like to get out and about on my foot scooter. It’s a great way to get around and see London, and much less stressful than public transport!

The Orchestra has been busy performing around the world in recent months. How do you cope with the additional demands placed on you when you’re on tour?

Jiji: I like to try and sample as much local food as possible. I also enjoy going to spas, especially in Germany where they’re really popular. Often we’ll arrive somewhere new in the early afternoon, so I’ll drop my bags at the hotel

and head straight out to find the local bathing pools. Martin: We’ll often unwind after a concert by going for some good food together. There are also a group of players in the Orchestra who like to go running together. We have some familiar routes in the cities we visit regularly, but it’s also a great way to explore a new place. This afternoon has been quite a treat! How do you usually spend your time between a morning rehearsal and an evening concert?

Lyndon: I’ll go for a run around Hyde Park, followed by some food then a nap. That’s my usual routine, so this afternoon has been far more relaxing! We’ve been treated to a personalised massage which was amazing. It’s not often that I lie still for an hour so it’s been great to relax physically as well as mentally. I’ve been able to totally switch off as it’s so peaceful here at ESPA Life at Corinthia.Martin: Yes, this afternoon has been great. The horn is actually quite heavy and holding it up for long periods of time can cause a strain on the neck, so this afternoon’s massage has really helped. I also used the sauna and steam room – I could have spent hours here! Like Lyndon, I’ll often go for a run along the river. I’ll then have a nap in the quiet room at Royal Festival Hall before dinner.

How does life change during the summer when the Orchestra goes down to Glyndebourne?

Lyndon: At Glyndebourne we often have the morning off, before an afternoon rehearsal and evening performance. One of the things I really enjoy is being able to water my tomatoes every morning and do a bit of gardening. There is also a group of us who like to go fishing, although we do get the odd complaint when we get a good catch and it gets left in the

dressing room fridge!Jiji: Last summer was my first Glyndebourne experience and I fell in love with playing opera. It’s very different to the London season as it is much less hectic.Martin: For me, the Glyndebourne period is when I get my bike out. I really look forward to the better weather and longer days, and it’s always a special occasion when I cycle to Glyndebourne for the first time each year.

What kind of music do you enjoy listening to?

Martin: I absolutely love Rachmaninoff. I was so excited when I found out we were doing a whole Rachmaninoff series in 2014/15. Rachmaninoff writes so well for the horn – he really understands the sound and blend of the instrument – quite remarkable for someone who was a pianist, not a horn player. Lyndon: I like to take a break from classical music outside of work. On the rare occasions I do listen to classical music I’ll choose something big, like the Verdi Requiem. Jiji: I like to listen to repertoire that we’ve got coming up with the Orchestra, and I also really enjoy watching performances on YouTube –especially the LPO!

Lyndon Meredith (Principal Bass Trombone), Ji Hyun Lee (First Violin) and Martin Hobbs (Horn)

The Vitality Pool, ESPA Life at Corinthia

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lPO NEwS

EdUcatION & cOMMUNIty

October 2014: 25 young musicians cluster cautiously in one corner of a studio, eyeing members of Quicksilver – Rambert’s youth dance company – as they stretch and warm up. We’re on the verge of the first workshop of our inaugural LPO Soundworks project – a new creative initiative for teenagers. Reflecting the LPO’s commitment to supporting new music across its main Royal Festival Hall season, our Education programme has always encouraged composition as a core part of its work. LPO Soundworks is the next step in the evolution of the traditional creative ensemble model – retaining the excitement and challenge of devising new work as a team, but with a twist: in each project, our music ensemble is paired with a group from a different artistic discipline, working as one company towards a joint performance piece. Both sides work to a combined ‘brief’, and the project offers unique learning opportunities for young people keen to find a new way to progress in their art form.

Back in the studio, no-one can quite imagine getting to the point of performing as a group in six weeks’ time on Southbank Centre’s Clore Ballroom. But the confidence of LPO animateur Fraser Trainer and Quicksilver director Laura Harvey is infectious, and the young musicians leave this first session having already performed some initial fragments,

inspired by some basic duo work presented by the dancers.

As well as aiming to teach and motivate our participants, LPO Education projects also provide an opportunity for the professional LPO musicians to develop their creative and leadership skills away from the concert platform. This term’s LPO Soundworks project has added a further layer to this multi-tiered development process, involving one of our current Foyle Future Firsts and two of this year’s LPO Young Composers, giving them the chance to hone their own skills and inspire an even younger generation.

With a final performance scheduled for a pre-concert slot before an LPO programme of Stravinsky, Birtwistle and Messiaen on 6 December 2014, Fraser has asked the group to incorporate aspects of the French composer’s style. While we always look forward to final project performances, the workshop process is invariably the most fascinating part. In this case, watching teenagers fluently devising their own Messiaen-esque octotonic scales, calculating complex polyrhythms and working out how to fit this to brand new choreography – while still managing to put their own stamp on the music – has been as inspirational to us as we hope the experience is to them.

FINd OUt MORE aNd GEt INvOlvEdlpo.org.uk/soundworks

LPO Soundworks pre-concert performance on the Clore Ballroom at Royal Festival Hall, 6 December 2014

lPO SOUNdwORkS

jtI cROSS-PaRtNER PROjEctFor several years, the LPO’s long-term corporate partner, JTI, has invited four of the artistic and charitable organisations it supports to join forces in one annual collaborative community project. The education teams of the LPO and Royal Academy of Arts work with Leonard Cheshire Disability and homeless charity Crisis UK to design programmes of creative music and art workshops for adult participants supported by the charities.

This year’s project at the Crisis Skylight Centre in Spitalfields was led by two LPO animateurs supported by LPO musicians and Foyle Future Firsts. Taking a South American theme inspired by one of the Royal Academy’s recent exhibitions, the participants learnt a Brazilian song – ‘Hey Dumba’ – before developing their own songs and instrumental arrangements using lyrics devised as a group. The musicality and open creativity of the Crisis members was phenomenal, and several of the LPO players taking part commented that these collaborative workshops had genuinely inspired them to find more freedom in their own playing.

Meanwhile, a parallel project ran in two Leonard Cheshire day services for disabled adults. Using the work of our colleagues at the Royal Academy as a starting point, the LPO musicians and animateur used artwork that the participants had created in RA workshops as the inspiration for making new music. The group explored orchestral instruments, experimented with conducting, wrote songs and created soundscapes.

A culmination performance took place at Southbank Centre’s Festival Village on 6 November 2014. Defying the drizzly autumn weather, the area was transformed into a vibrant and colourful summer festival. The Leonard Cheshire group performed their soundscapes and songs based on colours and seasons, with a special rap performed by service user Marvin. This was followed by the Crisis performance – an explosion of South American sounds and participants’ own songs about the city. In a new venture this year, the LPO also helped JTI form a staff choir, who performed alongside the Crisis singers, underlining the true spirit of collaboration. The whole afternoon was a fantastic celebration of music, art and community.


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lpo.org.uk/education

– 11 –

Full concert listings and booking information on page 13


lPO 2014/15 SEaSON

ENEScU: SyMPhONy NO. 3

That a Rachmaninoff concert season should include a symphony by the Romanian composer George Enescu (1881–1955) is both appropriate and surprising. Appropriate, because in

some ways they had much in common. They were both precocious composers, applauded and published in their teens. Both became world-famous as instrumentalists – Enescu was one of the greatest violinists of his time – and devoted years of their lives to concert tours, when what they most wanted to do was retire to their studies and compose. Each of them produced ‘lollipop’ works which turned into bugbears, narrowing their reputations (by the end of his life Enescu was fed up with the two early Romanian Rhapsodies, which are still his most frequently performed works). Both became political exiles: Rachmaninoff fled from the Russian Revolution in 1917, and Enescu left Romania during the long-drawn-out Communist takeover in 1946. And, most importantly, both these composers, who lived through a period of startling stylistic change, remained late Romantics at heart, while continuing to develop and innovate in their own individual ways.

So why is the inclusion of this Symphony surprising? Partly because Enescu, whose musical interests were extraordinarily broad, had little to do with the Russian tradition. Romanians have a rather touchy pride in the fact that they speak a Latinate language, not a Slavic one; culturally, they have always looked to Paris and Vienna (the places where Enescu studied) for inspiration, not to Moscow or St Petersburg. And partly because – let’s face it – the major symphonic works of Enescu are still so seldom played in the West that any

On Saturday 7 February 2015 the London Philharmonic Orchestra gives a rare performance of Enescu’s Third Symphony. Noel Malcolm

introduces this fascinating work, which is programmed with two Rachmaninoff pieces for what promises to be an unmissable event.

performance comes as an invigorating surprise.

That the Third Symphony gets few outings is especially understandable. Written in 1916–18, it is a work of sweeping ambition, requiring an unusual array of forces: full orchestra, two harps, piano, organ, glockenspiel, xylophone, wind machine and four-part chorus. Maybe Enescu was compensating, by this imagined wealth of resources, for the appallingly straitened wartime circumstances in which he was actually writing. For in 1916 Romania entered the war against Germany, just as the tide in eastern Europe was turning in favour of Germany and her allies. Bucharest soon fell to the enemy. The government and court retreated to the north-eastern corner of the country; Enescu went with them and organised a scratch orchestra of refugees, tirelessly coaching it when he was not himself

touring military hospitals to give concerts to maimed soldiers.

But still, this is not a ‘war symphony’. It is something broader, bolder and stranger than that. It melds together all the musical influences that had been at work in Enescu’s mind over the previous decade – Wagner and Strauss, above all, but also Fauré, whose devoted pupil he had been. It experiments, constantly and vividly, with textures and sonorities. And it points forward to key features of Enescu’s later work: the non-stop development and transformation of a central stock of melodic themes, and the interweaving of individual voices, even within the thickest orchestral texture. Romanian Rachmaninoff? Not really. Romanian Mahler? Perhaps.

Noel Malcolm is the author of George Enescu: His Life and Music (Toccata Press, 1990)

Soloists from the LPO will give a performance of Enescu chamber music at the Romanian Cultural Institute in London on Thursday 5 February 2015.

George Enescu (1881–1955)

Saturday 7 February 2015 | 7.30pm Southbank Centre’s Royal Festival Hall Rachmaninoff: Inside Out

Rachmaninoff Three Russian Songs Rachmaninoff Spring Enescu Symphony No. 3*

Vladimir Jurowski conductor Andrei Bondarenko baritone London Philharmonic Choir *Supported by the Romanian Cultural Institute.

Rachmaninoff: Inside Out is presented in cooperation with the Serge Rachmaninoff Foundation.

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lpo.org.uk/soundfutures

lONdON PhIlhaRMONIc ORchEStRa

SOUNd FUtURES

As a member of the London Philharmonic Orchestra audience you know us as the Orchestra that provides intelligently curated and brilliantly executed performances

of the world’s great music.

You know us as the orchestra that works together with Southbank Centre, our home, to produce blockbuster festivals like The Rest Is Noise, which challenge the way people think about music. You may also know us as the orchestra that reaches over 40,000

Please detach and return this form to Kathryn Hageman, Individual Giving Manager, London Philharmonic Orchestra, 4th Floor, 89 Albert Embankment, London SE1 7TP. Alternatively please call Kathryn on 020 7840 4212 to donate over the phone, or visit lpo.org.uk/soundfutures

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people every year with a wide-ranging programme of education and community initiatives.

Because of this artistic vision, we have been selected by Arts Council England for a special award that will help preserve this ambition and excellence in tough times ahead. For every £1 that we can secure from you, our public, they will offer another £1 to build the Orchestra’s first ever endowment fund. There is up to £1 million available, which would leave us with an endowment of £2 million, but we must find this sum by 30 April 2015.

More than £750,000 has already been secured from generous major corporate, trust and individual donors; but the clock is ticking and we now need the support of you, our audience, more than ever to help us complete the picture.

Remember, this endowment will work hard to enable us to do more of what you enjoy and value – more visionary programming led by Vladimir Jurowski; more landmark collaborations with Southbank Centre; and more inspirational musical experiences for disadvantaged people in the communities this Orchestra was founded to serve. GIvE tOday tO REalISE OUR vISION aNd SEcURE a SOUNd FUtURE FOR thE lPO:lpo.org.uk/soundfutures

£25 (worth £50 to the LPO)






Other amount £

I would like to give to the Orchestra’s Endowment Fund and have my donation matched pound for pound:

GIVE BY 30 APRIL AND HAVE YOUR DONATION MATCHED


– 13 –

lpo.org.uk

cONcERt lIStINGSlONdON PhIlhaRMONIc ORchEStRa

SOUthBaNk cENtRE

Unless otherwise stated, standard prices £9–£39 Premium seats £65

London Philharmonic Orchestra Ticket Office

020 7840 4242 Mon–Fri 10am–5pm lpo.org.uk

Transaction fees: £1.75 online, £2.75 telephone

Southbank Centre Ticket Office 0844 847 9920 Daily 9am–8pm

southbankcentre.co.uk Transaction fees: £1.75 online, £2.75 telephone No transaction fee for bookings made in person

JTI Friday Series is supported by

Rachmaninoff: Inside Out is presented in cooperation with the Serge Rachmaninoff Foundation.

Wednesday 21 January 2015 | 7.30pm Rachmaninoff: Inside Out

Wagner Das Rheingold (excerpts; semi-staged) Rachmaninoff The Miserly Knight (semi-staged; sung in Russian with English surtitles)

Vladimir Jurowski conductor Natalya Romaniw Woglinde Rowan Hellier Wellgunde Harriet Williams Flosshilde Sergei Leiferkus Alberich/Baron Maxim Mikhailov Wotan/Servant Vsevolod Grivnov Loge/Albert Viacheslav Voynarovskiy Moneylender Albert Shagidullin Duke Annabel Arden director Lucy Carter lighting designer Joanna Parker design consultant

Free pre-concert event | 6.15–6.45pm Royal Festival Hall

Director Annabel Arden and conductor Vladimir Jurowski discuss this semi-staging of The Miserly Knight.

Saturday 24 January 2015 | 7.30pm

Stravinsky Requiem Canticles Verdi Requiem

Vladimir Jurowski conductor Maija Kovalevska soprano Ildikó Komlósi mezzo soprano Dmytro Popov tenor Nikolay Didenko bass* London Philharmonic Choir Orfeón Pamplonés

* Please note a change to the artist as originally advertised.

In association with the Office for Cultural and Scientific Affairs of the Embassy of Spain in London.

We are grateful to an anonymous donor for supporting the participation of Orfeón Pamplonés in this concert.

Wednesday 28 January 2015 | 7.30pm

Debussy Le Martyre de Saint Sébastien (symphonic fragments) Magnus Lindberg Accused: three interrogations for soprano and orchestra (world premiere)* Wagner Prelude to Act 1, Tristan und Isolde Scriabin The Poem of Ecstasy

Vladimir Jurowski conductor Barbara Hannigan soprano

* Commissioned by the London Philharmonic Orchestra, Radio France, Gothenburg Symphony Orchestra and Toronto Symphony Orchestra, the Cleveland Orchestra and Carnegie Hall.

Concert generously supported by Victoria Robey OBE.


New Composer in Residence Magnus Lindberg talks about his role with the Orchestra and his latest work, Accused, premiered this evening.

Saturday 7 February 2015 | 7.30pm Rachmaninoff: Inside Out

Rachmaninoff Three Russian Songs Rachmaninoff Spring Enescu Symphony No. 3*

Vladimir Jurowski conductor Andrei Bondarenko baritone London Philharmonic Choir

* Supported by the Romanian Cultural Institute.


Rex Lawson and Denis Hall of the Pianola Institute give a unique performance of Rachmaninoff piano rolls. The concert includes part of Rachmaninoff’s Cello Sonata, with cellist Johannes Moser.

Sunday 8 February 2015 | 12.00pm

Family Concert: The Pied Piper of Hamelin (world premiere)

Suitable for children aged 7 and over.

Vladimir Jurowski conductorMichael Morpurgo author/narratorColin Matthews composer

Tickets £14–£18 adults, £7–£9 children

Wednesday 11 February 2015 | 7.30pm Rachmaninoff: Inside Out

Stravinsky Symphony in Three Movements Rachmaninoff Piano Concerto No. 2 Rachmaninoff The Bells (Choral Symphony)

Vasily Petrenko conductor Jorge Luis Prats piano Anna Samuil soprano Daniil Shtoda tenor Andrei Bondarenko baritone* London Philharmonic Choir

* Please note a change to the artist as originally advertised.


LPO musicians have been working with GCSE students from south-east London to explore the music of Rachmaninoff. They will perform their own new works for ensemble.

Friday 13 February 2015 | 7.30pm Rachmaninoff: Inside Out

Rachmaninoff Piano Concerto No. 4 (original version) Shostakovich Symphony No. 4

Vasily Petrenko conductor Alexander Ghindin piano


Vasily Petrenko explores the impact of Rachmaninoff on a Russian conductor.


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cONcERt lIStINGS cONtd.lONdON PhIlhaRMONIc ORchEStRa

lpo.org.uk

Saturday 21 February 2015 | 7.30pm

Beethoven Overture, Leonore No. 3 Beethoven Piano Concerto No. 3 Beethoven Symphony No. 7

Marin Alsop conductor David Fray piano

Free pre-concert event | 6.00–6.45pm The Clore Ballroom at Royal Festival Hall

Animate Orchestra is an ‘orchestra for the 21st century’ run by the LPO with Trinity Laban Conservatoire of Music and Dance and four boroughs from south-east London. Tonight’s concert features new music created by the ensemble in response to Beethoven’s Symphony No. 7, the ‘apotheosis of the dance’.

Wednesday 25 February 2015 | 7.30pm

Beethoven Overture, Egmont Schumann Overture, Scherzo and Finale Mendelssohn Violin Concerto Beethoven Symphony No. 5

Christoph Eschenbach conductor Ray Chen violin

Wednesday 11 March 2015 | 7.30pm

Elgar Introduction and Allegro Ireland Piano Concerto Walton Symphony No. 1

Andrew Manze conductor Piers Lane piano

Supported by the John Ireland Charitable Trust.


Andrew Manze directs the LPO’s Foyle Future Firsts in more English music – a series of jewel-like arrangements, realisations and recreations of Henry Purcell’s music by 21st-century masters: George Benjamin, Oliver Knussen, Peter Maxwell Davies and Manze himself.

Saturday 14 March 2015 | 7.30pm

Julian Anderson In lieblicher Bläue, for violin and orchestra* (world premiere) Ravel Daphnis et Chloé (complete ballet)**

Vladimir Jurowski conductor Carolin Widmann violin London Philharmonic Choir

* Commissioned by the London Philharmonic Orchestra, Deutsches Symphonie Orchester Berlin and Seattle Symphony Orchestra. The London Philharmonic Orchestra gratefully acknowledges financial support from PRS for Music Foundation and the Boltini Trust.

** Supported by Palazzetto Bru Zane – Centre de musique romantique française.


Julian Anderson discusses his new violin concerto, In lieblicher Bläue.

Saturday 21 March 2015 | 7.30pm

Prokofiev Chout (excerpts) Magnus Lindberg Piano Concerto No. 2 (UK premiere) Stravinsky Petrushka (1911 version)

Vladimir Jurowski conductor Yefim Bronfman piano


Dame Monica Mason, former Director of the Royal Ballet, discusses the Golden Age of Russian Ballet.

Wednesday 25 March 2015 | 7.30pm Rachmaninoff: Inside Out

Mozart Symphony No. 36 (Linz) Rachmaninoff Piano Concerto No. 1 (final version) Dvořák Symphony No. 8

Ilyich Rivas conductor Dmitry Mayboroda piano

Friday 27 March 2015 | 7.30pm

Tchaikovsky Romeo and Juliet (Fantasy Overture) James Horner New work for four horns (world premiere) Rimsky-Korsakov Scheherazade

Jaime Martín conductor David Pyatt horn John Ryan horn James Thatcher horn Richard Watkins horn

Free pre-concert event | 6.00–6.45pm The Clore Ballroom at Royal Festival Hall

The young musicians of In Harmony Lambeth and musicians from the LPO present a joint performance.

Wednesday 15 April 2015 | 7.30pm

Beethoven Piano Concerto No. 4 Bruckner Symphony No. 4 (Romantic) (Nowak edition)

Robin Ticciati conductor Menahem Pressler piano

Friday 17 April 2015 | 7.30pm

Debussy Prélude à l’après-midi d’un faune* Lalo Symphonie espagnole Brahms Symphony No. 1

Omer Meir Wellber conductor Augustin Hadelich violin

* Supported by Palazzetto Bru Zane – Centre de musique romantique française.

Please note a change to the originally advertised conductor.


‘A ray of sunshine in the light of French mist’: French music expert Roger Nichols explores the music of Edouard Lalo.

Saturday 25 April 2015 | 7.30pm

Wagner Overture, The Flying Dutchman Beethoven Symphony No. 4 Janáček Glagolitic Mass

Tomáš Netopil conductor Andrea Danková soprano Karen Cargill mezzo soprano Kor-Jan Dusseljee tenor Jochen Schmeckenbecher baritone

London Philharmonic Choir Orfeó Català Cor de Cambra del Palau de la Música

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lpo.org.uk

Wednesday 29 April 2015 | 7.30pm Rachmaninoff: Inside Out

Rachmaninoff (arr. Butsko) Piano Works, Four movements Rachmaninoff (arr. Jurowski) 10 Songs Rachmaninoff Symphony No. 3

Vladimir Jurowski conductor Vsevolod Grivnov tenor


Keeping it in the family: Vladimir Jurowski looks at his grandfather’s arrangement of the songs heard tonight.

Friday 1 May 2015 | 7.30pm

Dvořák Cello Concerto Berlioz Symphonie fantastique

Giancarlo Guerrero conductor Narek Hakhnazaryan cello

Sunday 3 May 2015 | 12.00pm

FUNharmonics Family Concert: USA!

Stuart Stratford conductorJoe Townsend violinChris Jarvis presenter

Tickets £10–£18 adults, £5–£9 children

aROUNd thE Uk

Saturday 17 January 2015 | 7.30pm Brighton Dome Box Office: 01273 709709www.brightondome.org

Humperdinck Prelude, Hansel and Gretel Chopin Piano Concerto No. 2 Dvořák Symphony No. 8

Rory Macdonald conductor Lambis Vassiliadis piano

Sunday 22 February 2015 | 3.00pm Congress Theatre, Eastbourne Box Office: 01323 412000 www.eastbournetheatres.co.uk

Borodin In the Steppes of Central Asia Tchaikovsky Violin Concerto Dvořák Symphony No. 9 (From the New World)

Garry Walker conductor Tamsin Waley-Cohen violin

Sunday 15 March 2015 | 3.00pm Congress Theatre, Eastbourne Box Office details as above

Beethoven Symphony No. 1 Haydn Piano Concerto in D major, Hob. VIII.11 Rossini Overture, The Barber of Seville Mozart Symphony No. 41, K551 (Jupiter)

Daniel Smith conductor Maria Meerovitch piano

Saturday 28 March 2015 | 7.30pm Brighton Dome Box Office details as above

Tchaikovsky Romeo and Juliet (Fantasy Overture) Elgar Cello Concerto Rimsky-Korsakov Scheherazade

Jaime Martín conductor Andreas Brantelid cello

Sunday 29 March 2015 | 3.00pm Congress Theatre, Eastbourne Box Office details as aboveProgramme as 28 March, Brighton

Sunday 12 April 2015 | 3.00pm Congress Theatre, Eastbourne Box Office details as above

Elgar Introduction and AllegroMendelssohn Violin ConcertoBeethoven Symphony No. 7

Domingo Hindoyan conductorMadalyn Parnas violin

Sunday 19 April 2015 | 7.30pm Hexagon Theatre, Reading Box Office: 0118 960 6060 readingarts.com/thehexagon

Delius On Hearing the First Cuckoo in Spring Elgar Cello Concerto Brahms Symphony No. 1

Jaime Martín conductor Andreas Brantelid cello

Saturday 18–Wednesday 22 April 2015 Live and Local

Bridgewater Hall, Manchester Victoria Hall, Stoke-on-TrentTown Hall, Leeds

Marios Papadopoulos conductor Alison Balsom trumpet

See full details at lpo.org.uk/liveandlocal

Supported by JTI.

Thursday 4 June 2015 | 7.30pmSalisbury Cathedral Salisbury Festival Box Office: 0845 241 9651 salisburyfestival.co.uk

Tchaikovsky Romeo and Juliet (Fantasy Overture)Dvořák Cello ConcertoRimsky-Korsakov Scheherazade

Jaime Martín conductorNarek Hakhnazaryan cello

Saturday 13 June 2015 | 7.30pmRoyal Concert Hall, Nottingham Box Office: 0115 989 5555 www.trch.co.uk

Donizetti Overture: Don PasqualeBrahms Violin ConcertoMussorgsky (orch. Ravel) Pictures at an Exhibition

Enrique Mazzola conductor Nicola Benedetti violin

INtERNatIONal cONcERtS

For full details of all our tours, visit lpo.org.uk

30 December 2014–6 January 2015: Tour to China

Guangzhou Opera House Shenzhen Concert HallShanghai Symphony Hall National Centre for the Performing Arts, Beijing

30 January–1 February 2015: Tour to Spain

Auditorio Nacional de Música, MadridAuditorio Baluarte, Pamplona

Tuesday 3 February 2015

Théâtre des Champs Elysées, Paris

17–20 February 2015: Tour to Netherlands/Belgium

De Oosterpoort , Groningen Tivoli Vredenburg, Utrecht Muziekgebouw, Eindhoven Concertgebouw, Bruges

Tuesday 3 March 2015

İş Sanat Arts & Culture Centre, Istanbul Friday 6 March 2015

Kultur und Kongresszentrum, Mannheim, Germany

– 16 –


What are your first musical memories? Did you grow up in a musical family?

I grew up one of three boisterous brothers who were expected to become as silent as the grave when our dad put Radio 3 on. Hence classical music seemed to be to us a form of endurance torture. Something must have sunk in though, as around the age of 11 I remember the sound of Beethoven’s ‘Emperor’ Piano Concerto grabbing my attention while I fixed my bike in the back yard, and I was drawn completely away from my plans to jump Evel Knievel-style over some of the other kids in the neighbourhood. A week or two later a chance came to learn the clarinet at school , which immediately became an obsession and just stayed that way.

What does joining the London Philharmonic Orchestra mean to you?

In a way, joining the LPO feels like a sort of homecoming. I spent nearly nine years as a member of the RPO but before that, as a freelancer I worked with the LPO more than any other, and I have very happy memories of tours and concerts from that time. The warm and rich-sounding wind section has been part of the distinctive sound of the Orchestra for many years, and I feel very privileged to be here trying my best to contribute towards it. There is a certain member of the wind section whose playing I’ve greatly admired for many years. To sit within earshot every working day is one of the greatest draws for me. I won’t mention the name, lest it make his head swell!!

What are the most challenging orchestral works you’ve played?

There are few pieces that don’t hold their own particular challenge. The E-flat clarinet part in Shostakovich’s Sixth Symphony is nerve-jangling: highly exposed and requiring complete rhythmic control. Playing it with the LPO under Vladimir Jurowski in 2007 was one of the most unforgettable concerts I’ve ever been a part of. Also many works by Richard Strauss: he had an incredible knowledge of the capabilities of every instrument, and wrote to the limits of them – for example his virtuosic writing for the bassett horn, which is

Newsletter published by the London Philharmonic Orchestra 89 Albert Embankment, London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Ticket Office: 020 7840 4242 lpo.org.uk

– thOMaS watMOUGh –Thomas is one of the Orchestra’s

newest members, having joined as Principal E-flat Clarinet in September

2014. We got to know him and his first impressions of the Orchestra ...

essentially a cross between a mangled clarinet and a Hoover!

I do more thinking nowadays about what type of clarinet a particular work was composed for, whether German or French, and at what stage of the instrument’s development. It often explains why some pieces – though seemingly simple – are harder to balance within the orchestra on the modern clarinet than others, and why some solos are harder to make work than others, despite appearing simple on the page.

What have been your first impressions of the atmosphere in the LPO, and the wind section in particular?

There is a lot of good feeling and joking in the wind section. The fact that I may be a tad ‘vertically challenged’ has been a source of merriment to my colleagues for many years, and no chance has ever been missed to rib me for it. As the LPO recorded the music for The

BackStaGE

Lord of the Rings trilogy, there has been some speculation that my contribution to the films was perhaps more visual than musical!

What’s the best thing about life as an orchestral musician?

One of the best things about being a musician is knowing that there is never a ceiling to your learning. I’ll never be the finished product, but I aim to always improve and learn from the great playing that goes on around me. Sometimes we need to be reminded of the best reasons we do it. For example, after a recent concert I got on a train with a colleague. We were both tired and in a miserable, cynical frame of mind. A school group got on after us, and they were all completely elated by something they had experienced earlier that evening. My friend and I couldn’t help being curious about what could possibly be making them bounce off the walls of the carriage like that. It gradually dawned on us that we’d been in the same hall as them that evening. They’d heard The Rite of Spring live for the first time and I got the impression that it had been an experience that some of them would never forget.

How do you enjoy spending your time when you’re not working?

The thing that gives me the best feeling of escape from the job is simply being with my children. Perhaps because of the age gap (Grace is 11 and Amália is 2) there’s a lovely dynamic between them, and when we’re all together the nervous energy that plagues me completely dissipates.

What music do you enjoy listening to?

It changes day to day. Apart from Berlioz (I’m a big fan), the classical music I listen to generally doesn’t involve clarinets. I’ve become pretty familiar with all the Beethoven quartets and piano sonatas and love them all. I enjoy folk music too, which has split into so many interesting tangents over recent years. It’s through an Oxford folk music society that my parents met, so perhaps that’s why it hits home somehow.

lPO PEOPlE

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Documents

LPO Tune In newsletter – Spring/Summer 2015