Royal Festival Hall 2013/14
- Please note that a transaction fee of £1.75 will be added to each order made online.
- Tickets booked fewer than five working days before the date of the concert will be available for collection at the ticket office from 6.30pm on the day of the performance.
- Concessions: 50% off all ticket prices for full-time students, benefit recipients (Jobseeker's Allowance, Income Support or Pension Credit) and under-16s (maximum 4 per transaction. Not applicable to Family Concerts) only. Limited availability; appropriate cards will be checked on admission.
Premium seats £65
The very best seats in the stalls, ensuring you the finest acoustic and view, are available as Premium seats.
Book more, pay less
Book 3-4 concerts and receive a 10% discount
Book 5-7 concerts and receive a 15% discount
Book 8-10 concerts and receive a 20% discount
Book 11-14 concerts and receive a 25% discount
Book 15 or more concerts and receive a 30% discount
Only nine tickets per concert can be bought online. Bookings of ten or more seats for the same concert are eligible for the group booking discount of 20%. Please call the London Philharmonic Orchestra Group Booking Line on 020 7840 4205 for further details.
London Philharmonic Orchestra ticket office: 020 7840 4242
Mon-Fri 10am-5pm. £2.75 transaction fee
Southbank Centre ticket office: 0844 847 9920
Daily 9.30am-8pm. £2.75 transaction fee. All ticketing staff at Southbank Centre can take typetalk calls.
In person at Southbank Centre: no transaction fee.
7.30pm concerts are not recommended for children of five years and under, and Southbank Centre staff reserve the right to refuse entry to young children for these events. We recommend our FUNharmonics concerts for children.
'This was an astounding concert in every respect, the fitting climax to an anything-goes benchmark week in the life of The Rest Is Noise festival ... How hard and tirelessly the LPO, brass especially, worked to terrorize and humour us. The theatrics of Jurowski senior may have been deadpan – hands in pockets when the baton wasn't needed – but you see where his son gets his absolutely clear and definitive beat from, every entry elegantly cued, and he shaped the multipart string slow movement towards a shattering climax and back.'
David Nice, The Arts Desk, 31 October 2013
'Theatrical as much as musical certainly, but with an underlying purpose that, thanks to the guidance of Jurowski as Master of Ceremonies, was hardly in doubt.'
Richard Whitehouse, Classical Source, 31 October 2013
'This wasn't an easy programme by any means, and seemed to get more intense as it went on, but the audience sat in rapt attention throughout, and conversations during the interval seemed to be about little other than the music of the first half ... For [Jurowski], context is all, and each of these allusions is given a sinister dimension through its placement in the narrative. The excellent orchestral playing helped him to make his point, the calculated precision of the woodwind ensembles, the dark colouring to each of the horn and trumpet solos.'
Gavin Dixon, Seen and Heard International, 31 October 2013
'Jurowski senior definitely had the measure of the piece, holding together the complex mix of improvisation and notated passages. He and the orchestra, who were clearly enjoying themselves, never flinched from being lurid and brazen when needed, particularly in the riotous second movement.'
Chris Garlick, Bachtrack, 1 November 2013
'[The Schnittke's] baroque, its ragtime, its tone clusters, its funeral marches and its free-for-all were played with outstanding virtuosity and directed with powerful clarity and energy ... One of the season's most rewarding and unforgettable concerts.' (5 stars)
Hilary Finch, The Times, 1 November 2013 (online access for Times subscribers only)
'I emerged feeling as if my brain had been pulled through my ears, savagely jumped on, and then squeezed back in, albeit upside down ... This performance, led by Michail Jurowski, father of the orchestra's current music director, Vladimir, was sustained with a breathtaking combination of skill and energy.'
Guy Dammann, The Guardian, 1 November 2013
Schnittke’s Vision of the Future
Schnittke's unique symphonic voice leading the way for multimedia
Lutosławski Cello Concerto*
Schnittke Symphony No. 1
Michail Jurowski conductor
Johannes Moser cello
For Alfred Schnittke, ‘incidental’ and ‘serious’ music were one and the same. When the composer began work on his First Symphony in 1969, he was also scoring the documentary film The World Today. As music for soundtrack and symphony drifted into one another, Schnittke emerged as a unique and vital symphonic voice for the coming multimedia age. Here was a composer who sampled before sampling was invented, and whose moving, emotion-filled and energy-charged symphonies reveal the paradoxes and parallels at the heart of modern life. The First Symphony remains a dramatic, almost supernatural live experience and is heard here alongside music of earthy realism and spirit by Witold Lutosławski.
Part of The Rest Is Noise, Southbank Centre’s year-long festival inspired by Alex Ross’ book The Rest Is Noise: Listening to the Twentieth Century.
* Generously supported by the Adam Mickiewicz Institute as part of the Polska Music programme – Centenary of Witold Lutosławski 2013.
This evening's performance will be broadcast live on BBC Radio 3 and available for one week on iPlayer.
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