Issuu

Live & Local

Prog ramme £3

Vladimir Jurowski conductor Miloš Karadaglić guitar London Philharmonic Orchestra De Montfort Hall, Leicester Thursday 24 April 2014 – 7.30pm Victoria Hall, Stoke-on-Trent Tuesday 29 April 2014 – 7.30pm

Mozart Symphony No. 32 Rodrigo Concierto de Aranjuez Interval Tchaikovsky Symphony No. 6 (Pathétique) Supported by

London Philharmonic Orchestra

The LPO are an orchestra on fire at the moment. Bachtrack.com, 2 October 2013

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the greatest names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor. Julian Anderson is the Orchestra’s current Composer in Residence. The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. 2013/14 highlights include a Britten centenary celebration with Vladimir Jurowski; world premieres of James MacMillan’s Viola 2

Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin including Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s ‘Organ’ Symphony; and two concerts of epic film scores. The season features soloists including Evelyn Glennie, Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Emanuel Ax, Leonidas Kavakos, Julia Fischer and Simon Trpčeski, and a distinguished line-up of conductors including Christoph Eschenbach, Osmo Vänskä, Vasily Petrenko, Jukka-Pekka Saraste and Stanisław Skrowaczewski. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long festival The Rest Is Noise, exploring the influential works of the 20th century. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large and vital part of the Orchestra’s life: highlights this season include visits to

Pieter Schoeman leader

Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.

the USA, Moscow, Romania, Austria, Germany, Slovenia, Belgium, France and Spain, and plans for 2014/15 include returns to many of the above plus visits to Turkey, Iceland, the USA (West and East Coast), Canada, China and Australia.

In summer 2012 the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians and audiences through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; fusion ensemble The Band; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, digital advances and social media have enabled the Orchestra to reach even more people across the globe: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 75 releases available on CD and to download. Recent additions include Brahms’s Symphonies Nos. 3 & 4 and Mahler’s Symphony No. 1 with Vladimir Jurowski; Orff’s Carmina Burana with Hans Graf; Mahler’s Das Lied von der Erde with Yannick Nézet-Séguin, Sarah Connolly and Toby Spence; and a disc of works by the Orchestra’s Composer in Residence, Julian Anderson.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich. 3

JTI

JTI is delighted to support tonight’s concert as part of its long-term partnership with the London Philharmonic Orchestra. At the core of our partnership is the JTI Friday Series, a set of concerts performed each year at London’s Royal Festival Hall with accessibly priced tickets. This ‘Live and Local’ tour takes the Friday Series ethos out of London, visiting Leicester, Stoke-on-Trent, Birmingham, Manchester and Leeds with performances of exciting music in local venues at an accessible price. Increasing accessibility to the arts is an important part of JTI’s corporate philanthropy programme in the UK. The London Philharmonic Orchestra also participates in JTI’s Cross-Partner Project, which brings its charitable and cultural partners together giving people with disabilities, as well as homeless and vulnerably housed people, greater access to music and the visual arts.

JTI Cross-Partner Project 2013: workshops and performances with the London Philharmonic Orchestra

It’s all part of JTI’s wider programme of support which helps adults who are less advantaged to improve their quality of life with a focus on poverty alleviation, older people, adult education and helping adults with disabilities. JTI is a member of the Japan Tobacco Group of Companies, a leading international tobacco manufacturer. Corporate philanthropy is how we describe our choice to contribute to the societies in which we do business, in a way that is meaningful, considered, voluntary, and outside our commercial operations. We work on many different levels, with small charities as well as globally renowned institutions. We apply a common set of values to decide which charities and cultural institutions we work with and we view them as partners, rather than simply beneficiaries. It’s our way of giving back to the communities in which we operate.

Making music accessible Supporting the arts is important to JTI. Our long-term partnership with the London Philharmonic Orchestra is helping to make music more accessible to all.

JTI is driven by the creativity of 25,000 diverse, enquiring minds made up of 90 nationalities. Imagine the potential. jti.com/UK

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Ilyoung Chae Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Grace Lee Rebecca Shorrock Galina Tanney Caroline Frenkel Alain Petitclerc Second Violins Dania Alzapiedi Guest Principal Jeongmin Kim Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Marie-Anne Mairesse Ashley Stevens Dean Williamson Alison Strange Stephen Stewart Sheila Law Elizabeth Baldey Stephen Dinwoodie John Dickinson

Violas Cyrille Mercier Principal Gregory Aronovich Susanne Martens Benedetto Pollani Naomi Holt Daniel Cornford Isabel Pereira Alistair Scahill Sarah Malcolm Martin Fenn Miriam Eisele Linda Kidwell Cellos Kristina Blaumane Principal Hetty Snell Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Helen Rathbone Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Kenneth Knussen Helen Rowlands Tom Walley

Flutes Michael Cox Guest Principal Sue Thomas* Chair supported by the Sharp Family

Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal

Stewart McIlwham* Piccolo Stewart McIlwham* Principal

Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse

Oboes Ian Hardwick Principal Alice Munday

Bass Trombone Lyndon Meredith Principal

Cor Anglais Sue Böhling Principal

Tuba Lee Tsarmaklis* Principal

Chair supported by Julian & Gill Simmonds

Clarinets Robert Hill* Principal Emily Meredith Bass Clarinet Paul Richards Principal Bassoons Ben Hudson Guest Principal Gareth Newman Horns David Pyatt* Principal Chair supported by Simon Robey

John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Vladimir Jurowski conductor

One of today’s most sought-after and dynamic conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow, and completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany, continuing his studies at the High Schools of Music in Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming the Orchestra’s Principal Conductor in September 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has also held the positions of First Kapellmeister of the Komische Oper, Berlin (1997– 2001); Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03); Principal Guest Conductor of the Russian National Orchestra (2005–09); and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir Jurowski has appeared on the podium with many leading orchestras in Europe and North America including the Berlin and Vienna Philharmonic orchestras, the Royal Concertgebouw Orchestra, The Philadelphia Orchestra, the Boston and Chicago symphony orchestras, the Tonhalle-Orchester Zürich, the Gewandhausorchester Leipzig, and the Staatskapelle Dresden. Highlights of the 2013/14 season and beyond include his debuts with the New York Philharmonic, NHK Symphony (Tokyo) and San Francisco Symphony orchestras; tours with the Chamber Orchestra of Europe and the Mahler Chamber Orchestra; and return visits to the Chicago Symphony, Berlin Radio Symphony, Cleveland and Philadelphia orchestras, and the Accademia Nazionale di Santa Cecilia.

Jurowski made his debut at the Metropolitan Opera, New York, in 1999 with Rigoletto, and has since returned for Jenůfa, The Queen of Spades and Hansel and Gretel. He has conducted Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opera National de Paris; Eugene Onegin at Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and Iolanta and Die Teufel von Loudon at the Dresden Semperoper, as well as The Magic Flute, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen, Ariadne auf Naxos and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera. In autumn 2013 he returned to the Metropolitan Opera for Die Frau ohne Schatten, and future engagements include Moses und Aron at the Komische Oper Berlin and The Fiery Angel at the Bayerische Staatsoper in Munich. Jurowski’s discography includes the first ever recording of the cantata Exil by Giya Kancheli for ECM; Meyerbeer’s L’étoile du Nord for Marco Polo; Massenet’s Werther for BMG; and a series of records for PentaTone with the Russian National Orchestra. The London Philharmonic Orchestra has released a wide selection of his live recordings on its LPO Live label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; Rachmaninoff’s Symphonic Dances; Tchaikovsky’s Symphonies 1, 4, 5, 6 and Manfred; and works by Turnage, Holst, Britten, Shostakovich, Honegger and Haydn. His tenure as Music Director at Glyndebourne has been documented in CD releases of La Cenerentola, Tristan und Isolde and Prokofiev’s Betrothal in a Monastery, and DVD releases of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus, Die Meistersinger von Nürnberg, Don Giovanni and Rachmaninoff’s The Miserly Knight. Other DVD releases include Hansel and Gretel from the Metropolitan Opera; his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler; and DVDs with the Orchestra of the Age of Enlightenment (Beethoven’s Symphonies Nos. 4 and 7) and the Chamber Orchestra of Europe (Strauss and Ravel), all released by Medici Arts. Vladimir Jurowski’s position as Principal Conductor and Artistic Advisor of the London Philharmonic Orchestra is generously supported by the Tsukanov Family Foundation and one anonymous donor.

Miloš Karadaglić

guitar

One of the hottest properties in classical music, Miloš Karadaglić came to international attention in 2011 with his debut album The Guitar (Mediterráneo) which, in the space of just a few months, topped classical charts around the world, became an internationally bestselling sensation, and earned Miloš Gramophone’s Young Artist of the Year award. An exclusive Deutsche Grammophon recording artist, in 2012 Miloš released his second album, Latino (Pasión), which went on to receive both Classic BRIT (UK) and ECHO Klassik (Germany) awards. Reviewing the album, Gramophone commented: ‘Karadaglić is a guitarist of superior musical and technical gifts who allows his personality to sing through the music with taste and intelligence.’ The Daily Telegraph added: ‘This new Latin American programme is outstanding in its finesse, warm sensuality and sheer beauty.’ Latino proved so successful that it was subsequently re-released as Latino GOLD, featuring 30 minutes of newly recorded tracks from a wealth of Latin American-inspired music. Meanwhile Miloš: Heartstrings, a documentary filmed throughout 2012 which charts the guitarist’s story to date, has been released on DVD and aired on numerous TV stations. Miloš’s much-anticipated third album, Aranjuez, was released on Deutsche Grammophon/Mercury Classics in February 2014. Recorded with the London Philharmonic Orchestra and conductor Yannick Nézet-Séguin, it includes Rodrigo’s Concierto de Aranjuez and Fantasía para un Gentilhombre. 2012/13 was a breakthrough season on the concert stage for Miloš, with sold-out debut performances and tours around the world. ‘Part of the reason Karadaglić́ has such a large following’, commented the Western Australian, ‘is his ability to straddle both hardcore classical and pop classical camps.’ This was echoed by the London press following his celebrated Royal Albert Hall debut in September 2012, of which the Guardian commented: ‘More extraordinary by far, however, was the way a single guitarist, playing an intimate

and understated set, and equipped with a single microphone and some clever lighting, could shrink the Hall’s cavernous space into something so close.’ The Independent concluded: ‘Defying its many critics to offer a dramatic and rounded evening of classical music, the guitar itself was the breakout star here – a sleight of hand that makes Karadaglić not only a magician, but a serious and accomplished musician.’ Miloš’s passion for the guitar is matched by an intuitive sense of how to bring the instrument across to his public – whether it be for an audience of 3000 in the Royal Albert Hall or an intimate chamber music performance for 100 people. He enjoys performing in the major concert halls as much as in non-traditional venues such as New York’s Le Poisson Rouge, London’s Camden Roundhouse (iTunes Festival) and Deutsche Grammophon’s Yellow Lounge club nights in London, Berlin, Amsterdam, Madrid, New York and Seoul. This season sees Miloš reach new heights with extensive tours throughout Europe, America and the Middle East, both in recital and concerto performances. As well as concerts with the London Philharmonic Orchestra in London, Leicester and Stoke-on-Trent, he appears with the Chicago Symphony Orchestra at the Ravinia Festival, The Philadelphia Orchestra at Saratoga, the Los Angeles Philharmonic at the Hollywood Bowl and the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, as well as appearances at prestigious festivals such as Cheltenham, Gstaad, Rheingau and Nits di Clàssica (Spain). Born in Montenegro in 1983, Miloš Karadaglić started playing the guitar at the age of eight. When he was 17 he successfully applied for a scholarship to study at London’s Royal Academy of Music. He continues to live in London, while maintaining close ties with his family and homeland. Miloš is a passionate supporter of music education and acts as a Patron of the Mayor of London’s Fund for Young Musicians and the charity Awards for Young Musicians. Miloš uses D’Addario J 46 strings and plays a 2007 Greg Smallman guitar, kindly lent to him by Paul and Jenny Gillham.

Programme notes

Wolfgang Amadeus Mozart (1756–91) Symphony No. 32 in G major, K318 (8’) 1 Allegro spiritoso 2 Andante 3 Primo tempo Musicologists like to put pieces in pigeonholes. Mozart didn’t actually call this work ‘Symphony’ – in fact he didn’t give it any kind of genre description. When he wrote the work in 1779, he had just returned from a trip to Paris, where he had hoped – in vain – to find prestigious employment, and thus escape servitude to the Archbishop of Salzburg, Count Hieronymus von Colloredo, whose treatment of Mozart was becoming more and more dictatorial. In Paris Mozart had heard comic opera overtures whose structure broadly resembles that of Symphony No. 32, so many writers have tried hard to prove that the music was really intended as a curtain-raiser for a theatre work. In fact there’s no evidence for this at all: Mozart may simply have been trying out new formal models.

Whatever the case, this lively, highly compact piece manages to say a great deal in well under ten minutes. It begins like a grand symphonic first movement, presenting strikingly contrasting themes, then developing them towards a climax. But at the point where we might expect the first theme to return, the music pauses expectantly, and a slow movement begins. Eventually this too breaks off, and the first movement resumes, as though nothing had happened to stop it. Cleverly, Mozart delays the return of the very first theme until the end, where it rounds off the structure brilliantly. Mozart may not have called this a ‘symphony’, but as a symphonic argument, it’s a triumph. © Stephen Johnson

Joaquín Rodrigo (1901–99) Concierto de Aranjuez (22’) Miloš Karadaglič guitar 1 Allegro con spirito 2 Adagio 3 Allegro gentile Along with Antonio José and artists in other media such as Dalí, Lorca and Buñuel, the Valencian composer Joaquín Rodrigo is often associated with the ‘Generación del ’27’, a loose-knit group of artists who came to prominence around that year, with similar aspirations to renew Spanish art by aiming for technical perfection. By 1939 many of them were dead, victims of the Nationalists in the Civil War. But chance found Rodrigo abroad at the outbreak of war, where he chose to remain. When he returned to Spain in 1939, he carried with him the score of the Concierto de Aranjuez

for guitar and orchestra: the work that was to bring him worldwide recognition. Rodrigo intended his Concerto to evoke life at the Royal Palace of Aranjuez under the Bourbon kings Charles IV and Ferdinand VII. The Palace, surrounded by verdant formal gardens, is clearly modelled on Versailles – but the imagery that Rodrigo had in mind was intensely Spanish: he spoke of majas and bullfights. The musical language breathes an elegant neoclassical atmosphere: it is completely tonal and its structure is carefully 9

Programme notes continued

poised. The first movement is pure filigree: scraps of melody are thrown to the wind and allowed to flutter freely. The third movement is a set of variations on what could well have been a courtly dance of the 18th century. But it is the second movement that forms the apex of the work: a beautifully tragic melody, heard first on the cor anglais and then developed rhapsodically, before reaching (via the work’s only real cadenza) a final statement of breathtaking emotional intensity. The Concerto places truly virtuosic demands on the soloist as both technician and interpreter: in addition

to the challenges set by such things as rapid scales (extremely difficult on the guitar), the music demands great melodic sensitivity. This would be difficult to balance against a full-size orchestra were it not for Rodrigo’s remarkably transparent scoring. (The composer was not averse, however, to having the soloist amplified electronically in large concert halls.) Rodrigo wrote several more concertos for various instruments, all of them fine works with equally evocative titles, but he was never to repeat the success of the Concierto de Aranjuez. © Chris Collins

Interval – 25 minutes Please remember to turn off your mobile phone after the interval.

Pyotr Ilyich Tchaikovsky (1840–93) Symphony No. 6 in B minor, Op. 74 (Pathétique) (45’) 1 2 3 4

Adagio – Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso

Tchaikovsky composed the last of his six symphonies (seven if you include the unnumbered Manfred) between February and August 1893, and conducted the first performance in St Petersburg in October. Nine days later, he was dead – probably through suicide, hurriedly forced upon him to avoid a scandal. There is of course no way in which the music and this premature death can be directly related. But the Symphony was written according to a programme which, although Tchaikovsky never revealed it, seems to have been connected to thoughts about mortality; and he willingly accepted his brother Modest’s suggested title for it of Symphonie pathétique – the adjective suggesting not so much pathos as suffering. Significantly, soon after completing the Symphony, he declined a suggestion that he should set to music a poem called Requiem by his old friend Alexey Apukhtin, who had recently died, on the grounds that it might involve attempting to repeat himself, after 10

composing a work into which he had put ‘my entire soul’. An integral part of Tchaikovsky’s conception of the work was that it should have as its finale ‘not a noisy Allegro but a long Adagio’. This led to a thorough rethinking of the traditional sequence of movements in a symphony – starting with the first, and longest, movement, which maintains a balance between fast and slow music. It begins with a dark-coloured slow introduction, a late addition to the score which anticipates the striving first subject of the main Allegro. Then the second subject consists of a whole extended paragraph of slower music: a consoling D major string melody, a contrasting ‘middle section’, and an impassioned return to the string melody, echoed by a clarinet solo dying away to nothing. The fastest section of the movement is the development, which begins with a furious fugato, later

overlaid by striding descending scales in the trumpets, and falls away to a solemn brass chorale which is in fact a chant from the Russian Orthodox funeral service, ‘With thy saints, O Christ, give peace to the soul of thy servant’. The recapitulation, launched at the peak of a new build-up of excitement, is a much altered and truncated version of the exposition, with a huge descending scale leading to a shortened version of the second subject (without its middle section), and a subdued coda. The two middle movements are both character-pieces of an unusual nature. The D major Allegro con grazia (‘with grace’) is waltz-like, but in a consistent 5/4 time. The standard pattern of a trio section and a reprise of the opening is expanded by a lead-back from the trio which juxtaposes phrases from both sections, and a coda beginning with scale patterns, rising quickly and

falling slowly. The Allegro molto vivace, in G major, is a brilliant march, largely concerned with building up anticipation, so that the final return of the main theme takes on a triumphant quality. But then the slow finale begins with a despairing melody, its scalewise descents initially shared note by note between first and second violins; and a descending scale in the bassoons leads to a second theme which, although in D major, also begins with fragments of downward scales. This is driven to a climax, before making way for the extended return of the first theme, in mounting waves of passion. Finally the downward scales which have increasingly dominated the whole work take over again, in a kind of vestigial minor-key return of the second subject, descending to the lowest depths of the orchestra before falling silent. © Anthony Burton

Jurowski conducts Tchaikovsky on the LPO Label On sale in the foyer tonight

Symphonies Nos. 1 & 6

Symphonies Nos. 4 & 5

Manfred Symphony

Vladimir Jurowski conductor

£10.99 (2CDs) | LPO-0039

£10.99 (2CDs) | LPO-0064

£9.99 (1CD) | LPO-0009

Over 75 LPO Label CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Also available to download or stream online via iTunes, Spotify, Amazon and others.

London Philharmonic Orchestra Administration

Board of Directors Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Neil Westreich Dr Manon Williams * Player-Director

Advisory Council Victoria Sharp Chairman Christopher Aldren Richard Brass Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson Christopher Fraser OBE Lord Hall of Birkenhead CBE Clive Marks OBE FCA Stewart McIlwham Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter

American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director

Victoria Sharp Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Chief Executive Timothy Walker AM Chief Executive and Artistic Director

Finance David Burke General Manager and Finance Director

Education and Community

Public Relations

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Alexandra Clarke Education and Community Project Manager