Southbank Centre’s Queen Elizabeth Hall

7.30pm, Friday 14 May 2010

Clement Power - conductor

Rachael Lloyd - mezzo soprano

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DEBUT SOUNDS

Debut Sounds is a celebration of the LondonPhilharmonic Orchestra’s young talent programmes:Young Composers and Foyle Future Firsts. Over the pastyear members of both programmes have beensupported by the Orchestra and its Education andCommunity Department to explore new ideas, learnnew skills and work closely with the Orchestra’smusicians. Tonight gives you the opportunity to hearthe culmination of this work by some of the mostexciting young musicians in classical music.

Foyle Future Firsts This evening members of the London PhilharmonicOrchestra will be playing alongside members of theFoyle Future Firsts orchestral apprenticeshipprogramme. The 16 members of the programme aregifted and talented young instrumentalists, who aspireto be professional orchestral musicians. The programme

aims to bridge the gap between completing formalinstrumental training and finding work as a full timeorchestral musician. Now in its seventh year, our uniqueprogramme has gone from strength to strength.Members are supported and nurtured to the higheststandards and we are proud to see current and pastFoyle Future Firsts taking professional engagementswith the London Philharmonic Orchestra and otherprofessional ensembles.

Members of the Foyle Future Firsts programme benefitfrom individual lessons and mentoring from LondonPhilharmonic Orchestra Principals, training seminars onaudition techniques and mock auditions. The FoyleFuture Firsts also have opportunities to play in fullorchestra rehearsals throughout the year, to take partin high profile chamber performances with VladimirJurowski and to work alongside LPO musicians onEducation and Community projects.

Young Composers Tristan Brookes, Isa Khan, Aaron Parker and Sasha Siemhave worked with an ensemble comprising members ofthe London Philharmonic Orchestra and the FoyleFuture Firsts programme throughout the academic year.

In a series of workshops dedicated to trying out theircompositional ideas, the four composers have receivedadvice and support from Composer in ResidenceMark‐Anthony Turnage, composer Jonathan Cole andconductor Clement Power.

The 2009/2010 Foyle Future Firsts

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DEBUT SOUNDS

Tristan Brookes was born in Oxfordin 1986. In 2007 he graduatedfrom King’s College, London, wherehe had studied composition,analysis and musicology. From2007 to 2008 he studied for aMMus in composition at the RoyalCollege of Music under the

tutelage of Jonathan Cole. Lontano, the ComposersEnsemble and the London Contemporary Orchestrahave performed his pieces in workshops. Currentprojects include Ur, for ensemble and live-relayedsounds, to be performed at Snape Maltings by theLondon Contemporary Orchestra on 15 May 2010, and anew work commissioned by the Impuls CompositionAcademy, to be performed in Graz by the Klangforum Wien in February 2011.

Isa Khan was awarded a fullscholarship to study at the PurcellSchool from the age of eight.During his ten years there hestudied composition with JonathanCole and briefly with Dai Fujikura.His works have been heard atWigmore Hall, Queen Elizabeth

Hall, Purcell Room and Sadler’s Wells. In 2004 Isa wonthe Purcell School Orchestral Composition prize for hiswork Blocco Liniere which was conducted by DiegoMasson at the Royal Academy of Music’s Duke’s Hall.More recently, he had a work performed at the NationalPortrait Gallery in collaboration with the Taylor WessingPhotographic Portrait Prize. He is currently in his secondyear at the Royal College of Music. Future projectsinclude work with the Ossian Ensemble.

Aaron Parker has just commencedundergraduate composition studieswith Gary Carpenter at the RoyalNorthern College of Music,Manchester. His works have beenbroadcast on BBC Radio 3 and BBC 1 and performed by the BBCSymphony Orchestra, Aurora

Orchestra, National Youth Orchestra and the RNCMBrand New Orchestra in venues such as the Royal AlbertHall, The Sage Gateshead, Symphony Hall Birmingham,Royal Festival Hall, Barbican Centre, Leeds Town Halland Snape Maltings, Aldeburgh, as well as in France,Italy and The Netherlands. Current projects include anew work for Mark Simpson and the OxfordContemporary Music Group to be premièred in June,and an oboe sonata for Melanie Rothman.

Sasha Siem has recently composedmusic for the London Sinfonietta,Le Nouvel Ensemble Moderne,Opera North, London SymphonyOrchestra and Royal Opera House,as well as for the Aldeburgh andCheltenham Festivals. Born inLondon, she was educated at

Cambridge University where she graduated with adouble starred first and completed an MPhil incomposition for which she was awarded the ArthurBliss Prize. She is currently finishing a PhD incomposition at Harvard University and has also been anexchange scholar at Columbia University. Sasha is aSociety for the Promotion of New Music shortlistedcomposer and was recently awarded the RoyalPhilharmonic Society composition prize.

YOUNG COMPOSERS MENTORSMark-Anthony Turnage is indisputably among the mostsignificant creative figures to have emerged in Britishmusic of the last two decades. The success of his firstopera, Greek, established his reputation as an artistwho dared to forge his own path between modernismand tradition by means of a unique blend of jazz andclassical styles. Among his subsequent successful workshave been Blood on the Floor, The Silver Tassie and hisViolin Concerto Mambo, Blues and Tarantella, writtenfor the London Philharmonic Orchestra of which he isComposer in Residence. His current major project is anopera, Anna Nicole, to be premièred at the Royal OperaHouse, Covent Garden, next February.

Jonathan Cole is a Professor of Composition at the RoyalCollege of Music. His works have been featured at manyfestivals and, since winning the Royal PhilharmonicComposition Prize in 1999, he has built up a continuingrelationship with the London Sinfonietta. Many of hisworks have been broadcast on BBC Radio 3 as well as inScandinavia, Japan and the USA. In 2009 he took up thepost of composer-in-association with the LondonContemporary Orchestra for whom he wrote a large-scale music theatre piece burburbabbar za which isbeing revived this month at this year’s Faster thanSound Festival at Snape.

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Clement Power, the youngEnglish conductor, is rapidlygaining a reputation, notably inthe field of contemporarymusic. He has a closerelationship with the EnsembleIntercontemporain, Paris,having been assistantconductor from 2006 to 2008.He recently returned to conduct

Boulez’s Le Marteau sans maître, and the world premièreof Hypermusic Prologue, an opera by Hector Parra, inParis’s Centre Pompidou, the Teatro Liceu, Barcelona, andthe Philharmonie, Luxembourg. This season also sawClement’s debut appearances with the BBC ScottishSymphony Orchestra, Orchestre de Bretagne, and NHKSymphony Orchestra in Suntory Hall, Tokyo, conductingStockhausen’s Gruppen.

In 2005/06, Clement was the London PhilharmonicOrchestra Junior Fellow in Conducting. He continues hislinks with the Orchestra, having conducted its YoungComposers scheme since its inception, as well asconcerts with the Orchestra’s Foyle Future Firsts. Futureengagements will take him to the PhilharmoniaOrchestra for its Music of Today series, Orchestre deBretagne and Klangforum Wien.

Born in London in 1980, Clement studied at CambridgeUniversity, the Royal College of Music, and the

International Ensemble Modern Academy. His debut CD,conducting the Ensemble Intercontemporain, will bereleased on KAIROS this month.

Rachael Lloyd (mezzo soprano)made her debut withGlyndebourne on Tour singingthe role of Shelley in TangierTattoo in 2005. In 2009, shesang Cornelia in Handel’s GiulioCesare at the GlyndebourneFestival and will be singing therole of Meg Page inGlyndebourne Touring Opera’s

production of Verdi’s Falstaff. Other roles have includedBlanche in Offenbach’s Bluebeard at the Buxton Festivalin 2007. In 2000, Rachael sang the mezzo soprano solosat the première of Karl Jenkins’s The Armed Man – AMass for Peace at the Royal Albert Hall and made herBBC Proms debut in 2002 singing the role of the Queenin Mendelssohn’s Elijah, conducted by Kurt Masur. As arecitalist, she has sung at Lille Opera House in France,where she performed Schumann’s Frauenliebe undLeben and Elgar’s Sea Pictures, and is featured on arecording of works by Claudio Monteverdi, Giulio Cacciniand John Dowland with La Nuova Musica. This seasonshe has already performed the role of Mrs Anderssen inStephen Sondheim’s A Little Night Music at the ChâteletTheatre in Paris alongside Leslie Caron. Future plansinclude the role of Maddalena in Rigoletto.

PERFORMERS

ViolinsJeongmin Kim Artem Kotov†Sarah Sew

ViolasKatherine LeekLaura VallejoJennifer Edwards†

CellosFrancis BucknallAndrei Simion†

Double BassesGeorge PenistonDamián Rubido González†

FlutesKate Bicknell Laura Pou†

OboesDaniel BatesWill Oinn†

ClarinetsEmily SutcliffeJames Burke†

BassoonsClaire WebsterJoanna Stark†

HornsJohn RyanMartin HobbsTiffany Stirling†Gareth Mollison

TrumpetsLucy Leleu†Alan Blair

TromboneAndy White†

TubaCarl Woodcroft†

PercussionSarah Cresswell†

HarpStephanie Beck†

PianoMichele Gamba†

†2009/10 Foyle Future Firsts

For the LondonPhilharmonic Orchestra

Timothy Walker AMChief Executive and ArtisticDirector

Matthew ToddEducation and CommunityDirector

Isobel TimmsCommunity Officer

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WITOLD LUTOSŁAWSKI (1913-1994)Mini Overture

The great Polish composer Witold Lutosławski wrotethis miniature for brass quintet (two trumpets, horn,trombone and tuba) to be played by the Philip JonesBrass Ensemble at a Lucerne Festival concert in March1982. It is a brilliant collective toccata in constantlychanging time-signatures. (AB)

AARON PARKER (born 1991)Moiré

Moiré was written between November 2009 and earlyApril 2010. It is scored for chamber orchestra and themusic is split into two brief movements. The title refersto the optical effect whereby two identical patterns orlines are superimposed upon each other to create a newresulting pattern, a ‘moiré’. The shape of the moiré willalter as the patterns or lines which make it up arerealigned. This concept seemed to me to suggest variousinteresting musical possibilities, some of which areexplored in this short work. In the first movement, forexample, overlapping isorhythmic phrases in the upperwoodwinds create a kind of aural moiré while also

creating a frenetic, constantly shifting backdrop for askittish trumpet solo, elements of which in turn sparknew textures as the music progresses. The secondmovement is a distillation of some of the ideas from thefirst movement, and is predominantly slow, quiet anddistant. A high violin solo at the centre of themovement, and muted brass, cor anglais and a solo cellotowards the end, are distorted fragments and echoes ofthe trumpet theme from the beginning of the firstmovement. (AP)

ISA KHAN (born 1989)06

In 06my interest lay in setting up a sound-world inwhich a process of clarification takes place. Thisemerges as the listeners’ perception becomesincreasingly aware of the innate structure of thematerial being formed. An internal logic is revealed asthe material undergoes processes of decay anddisintegration, the effect of which strengthens theclarity of these ideas. I see this revelation as being anorganic process mirrored in the nature that surroundsus. (IK)

MAURICE RAVEL (1875-1937)Trois Poèmes de Stéphane Mallarmé

SoupirPlacet futileSurgi de la croupe et du bond

This short song-cycle, composed in 1913, shows Ravel –like Stravinsky at the same time – at the apogee of hismodernist phase. It is no coincidence that it is on textsby Mallarmé, the most modernist of French poets. Theaccompanying ensemble consists of two flutes(including piccolo), two clarinets (including bassclarinet), string quartet and piano – an expansion of thescoring of Schoenberg’s influential Pierrot Lunaire, andexactly the instrumentation of Stravinsky’s then brandnew Three Japanese Lyrics. ‘Sigh’ begins and ends withsprays of string harmonics evoking the ‘white fountain’of the poem; the ‘Futile supplication’ to a princess on ateacup includes elusive hints of Ravel’s favourite waltztime; and the final sonnet, obscure in its negativity, isset to what Roger Nichols has called ‘music of asustained dissonance, edgy, sinister and thoroughlyuncomfortable’. (AB)

DEBUT SOUNDS

PROGRAMME

Witold Lutosławski Mini OvertureAaron Parker MoiréIsa Khan 06Maurice Ravel Trois Poèmes de StéphaneMallarméEdgard Varèse Octandre

INTERVAL

Sasha Siem Queen Anne’s LaceRichard Strauss Serenade in E flatTristan Brookes SERRA: PessoaIgor Stravinsky Concerto in E flat (DumbartonOakes)

Clement Power conductorRachael Lloydmezzo soprano

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Sigh

My soul rises toward your brow where, calm sister,An autumn strewn with russet spots is dreaming,And toward the restless sky of your angelic eye,As in some melancholy gardenA white fountain faithfully sighs toward the Azure!– Toward the tender Azure of pale and pure OctoberThat mirrors its infinite languor in the vast pools,And, on the stagnant water where the tawny agonyOf leaves wanders in the wind and digs a cold furrow,Lets the yellow sun draw itself out in one long ray.

Futile supplication

Princess! In envying the fate of a HebeWho appears on this cup at the kiss of your lips,I expend my ardour but have only the modest rank of abbéAnd shall not figure even naked on the Sèvres.

Since I am not your bearded lap-dog,Nor lozenge, nor rouge, nor affected games,And know you look on me with indifferent eyes,Blonde, whose divine coiffeurs are goldsmiths –

Appoint me ... you whose many laughs like raspberriesAre gathered among flocks of docile lambsGrazing through all vows and bleating at all frenzies,

Appoint me ... so that Love winged with a fanMay paint me there, fingering a flute and lulling this fold,Princess, appoint me shepherd of your smiles.

Risen from the crupper and leap

Risen from the crupper and leapOf an ephemeral ornament of glass,Without garlanding the bitter vigil,The neglected neck stops short.

I truly believe that two mouths neverDrank, neither her lover nor my mother,From the same Chimera,I, sylph of this cold ceiling!

The vase pure of any draughtSave inexhaustible widowhoodThough dying does not consent –

Naive and most funereal kiss –To breathe forth any annunciationOf a rose in the shadows.

PROGRAMME NOTES

Soupir

Mon âme vers ton front où rêve, ô calme soeur,Un automne jonché de taches de rousseur,Et vers le ciel errant de ton oeil angéliqueMonte, comme dans un jardin mélancolique,Fidèle, un blanc jet d’eau soupire vers l’Azur!– Vers l’Azur attendri d’Octobre pâle et purQui mire aux grands bassins sa langueur infinieEt laisse, sur l’eau morte où la fauve agonieDes feuilles erre au vent et creuse un froid sillon,Se traîner le soleil jaune d’un long rayon.

Placet futile

Princesse! à jalouser le destin d’une HébéQui poind sur cette tasse au baiser de vos lèvres,J’use mes feux mais n’ai rang discret que d’abbéEt ne figurerai même nu sur le Sèvres.

Comme je ne suis pas ton bichon embarbéNi la pastille ni du rouge, ni jeux mièvresEt que sur moi je sais ton regard clos tombéBlonde dont les coiffeurs divins sont des orfèvres!

Nommez-nous... toi de qui tant de ris framboisésSe joignent en troupeau d’agneaux apprivoisésChez tous broutant les voeux et bêlant aux délires,

Nommez-nous... pour qu’Amour ailé d’un éventailM’y peigne flûte aux doigts endormant ce bercail,Princesse, nommez-nous berger de vos sourires.

Surgi de la croupe et du bond

Surgi de la croupe et du bondD’une verrerie éphémèreSans fleurir la veillée amèreLe col ignoré s’interrompt.

Je crois bien que deux bouches n’ontBu, ni son amant ni ma mère,Jamais à la même Chimère,Moi, sylphe de ce froid plafond!

Le pur vase d’aucun breuvageQue l’inexhaustible veuvageAgonise mais ne consent,

Naïf baiser des plus funèbres!À rien expirer annonçantUne rose dans les ténèbres.

Stéphane Mallarmé (1842-1898). Translation © Richard Stokes, reprinted by his kind permission from A French SongCompanion, published by Oxford University Press.

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EDGARD VARÈSE (1883-1965)Octandre

Assez lent – Très vif et nerveux – Grave – Animé et jubilatoire

Edgard Varèse’s only piece of true chamber music,Octandre (literally ‘a flower with eight stamens’), wascomposed in New York in 1923. It is scored for flute(and piccolo), clarinet (and the shrill E flat clarinet),oboe, bassoon, horn, trumpet, trombone, and doublebass. For much of the 7-minute piece, this ensemble isused to create sonorities of strident intensity; thoughby way of contrast there are also moments of angularbut eloquent melody. Unusually for Varèse, the workfalls into separate movements: the first is linked to thesecond by a long, uninterrupted silence; and a singledouble bass note leads from the second into the slowintroduction of the third. The tempo and mood of the‘very lively and nervous’ second movement are recalled,without direct quotation, in the middle section of the‘animated and jubilatory’ finale. (AB)

SASHA SIEM (born 1984)Queen Anne’s Lace

Queen Anne’s Lace is the name given to a type of wildcarrot, which produces intricate white flowers thetexture of lace. Queen Anne’s Lace is also the title of apoem by William Carlos Williams in which he rendersthese flowers in slow, sensuous detail. I think of it as alove poem. Lace invites the viewer to perceive beyondsurface detail to whatever lies beyond. I was interestedin the musical implications of such an invitation andwanted to create a musical texture which would openfor (but also close on) the listener as though revealingsecrets hidden behind a perceived surface. (SS)

RICHARD STRAUSS (1864-1949)Serenade in E flat, Op. 7

Richard Strauss wrote his Serenade for windinstruments in 1881, as a precociously gifted 17-year-old Munich schoolboy. Its première, in the majormusical centre of Dresden in November 1882, and alater performance by the celebrated MeiningenOrchestra helped to put Strauss on the musical map atthe very beginning of his long career. The piece is scoredfor an expanded version of the classical Harmonie, orwind band, consisting of pairs of flutes, oboes, clarinetsand bassoons, two pairs of horns, and contra-bassoon.But, unlike classical serenades, it is in a singlemovement – so perhaps its title is meant literally, tosuggest a depiction of outdoor serenading. However, itfollows the traditional ‘tunes–development–tunes’outline of sonata form with perfect correctness – atleast until the exultant climax of the opening section isreplaced in the recapitulation by a tender leave-taking.(AB)

TRISTAN BROOKES (born 1986)SERRA: Pessoa

In November 2008 I visited a Richard Serra exhibition atthe Gagosian Gallery. One sculpture, Fernando Pessoa,was presented in a room of its own, to one side of themain exhibition space. Fernando Pessoa is an imposingweatherproof steel wall over 9m long, 3m tall and20cm thick. At first I was struck by the sheer size andweight of the object, and the brutal way in which itinhabited its space (a small room), but closer inspectionrevealed a spectrum of surface detail from the broad tothe minute. Rhythmic patterns (caused by oxidization?)and flaking material cover every inch of the structure,which made its appearance more awesome when Istepped back again. (TB)

IGOR STRAVINSKY (1882-1971)Concerto in E flat (Dumbarton Oaks)

Tempo giusto – Allegretto – Con moto

Stravinsky conceived his Dumbarton Oaks Concerto,written in 1937/38 and named after the home of the

INTERVAL 20 minutes

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

PROGRAMME NOTES

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PROGRAMME NOTES

American couple who commissioned it, as ‘a littleconcerto in the style of the Brandenburg Concertos’. Likemost of Bach’s Brandenburgs, it is scored for a mixedgroup of wind and strings: the instruments are flute,clarinet, bassoon and two horns, three violins, threeviolas, two cellos and two double basses. There is evenan allusion to the Third Brandenburg at the verybeginning. But the characteristic propulsive rhythmsand open contrapuntal textures of Bach’s music aretranslated into a musical language which is entirelyStravinskyan in the sharp tang of its harmonies and thenervous energy of its changing time-signatures. Thereare moments of relaxation, though: the luminous slowcoda of the first movement, which returns to punctuatethe following Allegretto; the nearly static, drilyhumorous main theme of this second movement; andthe graceful, rather nostalgic episode which brieflyinterrupts the steady tread of the finale. (AB)

Programme notes of new works by the Young Composers.Notes on Lutosławski, Ravel, Varèse, Strauss andStravinsky by Anthony Burton © 2010

Foyle Future Firsts Presents ... Friday Lunch

Friday 28 May 2010 | 1pm Level 2 Central Bar at Royal Festival HallFREE

A free lunchtime performance,programmed and performed by membersof the London Philharmonic Orchestra’sFoyle Future Firsts orchestralapprenticeship programme featuringmovements from piano quartets byMahler, Mozart, Schumann and Brahms.

www.lpo.org.uk/futurefirsts

The right is reserved to substitute artists and to vary the programme if necessary • The London Philharmonic Orchestra is aregistered charity No. 238045 • The Southbank Centre is a registered charity No. 298909.

The London Philharmonic Orchestra gratefully acknowledges the financial supportof the Arts Council England and Southbank Centre.

This concert is presented by the London Philharmonic Orchestra, 89 Albert Embankment, London SE1 7TP. Tel: 020 7840 4200.Visit the website www.lpo.org.uk for full details of all the London Philharmonic Orchestra’s concerts and activities.

WELCOME TO SOUTHBANK CENTRE

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

Eating, drinking and shopping? Southbank Centre shops andrestaurants include: MDC music and movies, Foyles, EAT,Giraffe, Strada, wagamama, Le Pain Quotidien, Las Iguanas,ping pong, Canteen, Caffé Vergnano 1882, Skylon and FengSushi, as well as cafes, restaurants and shops inside RoyalFestival Hall, Queen Elizabeth Hall and Hayward Gallery.

If you wish to get in touch with us following your visit pleasecontact our Head of Customer Relations at Southbank Centre,

Belvedere Road, London SE1 8XX, by phone on 020 7960 4250or by email at customer@southbankcentre.co.uk

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:PHOTOGRAPHY is not allowed in the auditoriumLATECOMERS will only be admitted to the auditorium if thereis a suitable break in the performanceRECORDING is not permitted in the auditorium without theprior consent of Southbank Centre. Southbank Centre reservesthe right to confiscate video or sound equipment and hold it insafekeeping until the performance has endedMOBILES, PAGERS AND WATCHES should be switched offbefore the performance begins

The Foyle Future Firsts programme is generously funded by the Foyle Foundation with additional support fromThe D’Oyly Carte Charitable Trust, The Fenton Arts Trust, Musicians Benevolent Fund and The UK Friends of theFelix-Mendelssohn-Bartholdy-Foundation. The Orchestra’s Young Composers Scheme is supported by ErandaFoundation, The Idlewild Trust and the Paul Morgan Charitable Trust.

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