London Philharmonic Orchestra 11 February concert programme by London Philharmonic Orchestra

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Concert programme

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lpo.org.uk/rachmaninoff

Winner of the RPS Music Award for Ensemble Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Leader pieter schoeman supported by Neil Westreich Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Wednesday 11 February 2015 | 7.30pm

Stravinsky Symphony in Three Movements (20’) Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 (32’) Interval Rachmaninoff The Bells, Op. 35 (35’)

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

In co-operation with the Serge Rachmaninoff Foundation

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome LPO 2015/16 season launch 3 On stage tonight 4 About the Orchestra 5 Rachmaninoff: Inside Out 6 Vasily Petrenko 7 Jorge Luis Prats | Anna Samuil 8 Daniil Shtoda | Andrei Bondarenko 9 London Philharmonic Choir 10 Programme notes and text 17 2015/16 season highlights 18 Supporters 19 Sound Futures donors 20 LPO administration The timings shown are not precise and are given only as a guide.

Free pre-concert event 6.00–6.45pm | Royal Festival Hall LPO musicians have been working with GCSE music students from south-east London to explore the music of Rachmaninoff. They will perform their own new works for ensemble.

Welcome

Welcome to Southbank Centre

London Philharmonic Orchestra 2015/16 season launch

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

Booking is now open for our new season, with concerts selling fast. Browse the concerts at lpo.org.uk.

Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email 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 auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

Highlights include: Shakespeare400: 2016 marks the 400th anniversary of Shakespeare’s death, and in collaboration with other leading cultural organisations we present a series of concerts celebrating some of the wonderful music inspired by the great playwright, including works by Sibelius, Dvořák, Prokofiev, Strauss and Britten. The series culminates in a specially curated Anniversary Gala Concert directed by Simon Callow. Vladimir Jurowski, Principal Conductor and Artistic Advisor: We were pleased to announce recently that Jurowski’s celebrated partnership as Principal Conductor and Artistic Advisor with the LPO will carry on until at least 2018. He opens the season with the continuation of his Mahler symphony cycle with a performance of the Seventh Symphony, and resumes his recent exploration of Bruckner symphonies with a performance of the Third. Principal Guest Conductor: Andrés Orozco-Estrada: This season we welcome our new Principal Guest Conductor Andrés Orozco-Estrada. Colombian-born and trained in Vienna, he has already shown us the reason for his meteoric rise through the ranks and why everyone is talking about him. Brief Encounter: We present a screening of David Lean’s iconic film with live orchestra performing its famous soundtrack of Rachmaninoff’s Piano Concerto No. 2. Premieres: New music plays an integral part in every LPO concert season, and in 2015/16 we give premieres of works by our Composer in Residence Magnus Lindberg, Krzysztof Penderecki, Alexander Raskatov and Marc-André Dalbavie.

Watch a video of Vladimir Jurowski, Principal Conductor and Artistic Advisor, discussing the LPO 2014/15 season: lpo.org.uk/whats-on/season14-15.html

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On stage tonight

First Violins Vesselin Gellev* Leader Ilyoung Chae Chair supported by an anonymous donor Ji-Hyun Lee Chair supported by Eric Tomsett Catherine Craig Thomas Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp Robert Pool Sarah Streatfeild Yang Zhang Alina Petrenko Galina Tanney Helena Smart Ishani Bhoola Nilufar Alimaksumova Catherine van de Gees Second Violins Philippe Honore Guest Principal Nancy Elan Fiona Higham Nynke Hijlkema Joseph Maher Ashley Stevens Dean Williamson Helena Nicholls Sioni Williams Mila Mustakova Stephen Stewart Kate Cole John Dickinson Gavin Davies Violas Cyrille Mercier Principal Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter*

Naomi Holt Isabel Pereira Daniel Cornford Martin Fenn Michelle Bruil Richard Cookson Cellos Kristaps Bergs Guest Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Helen Rathbone Double Basses Kevin Rundell* Principal Laurence Lovelle George Peniston Thomas Walley Lowri Morgan Kenneth Knussen Helen Rowlands Charlotte Kerbegian Flutes Alja Velkaverh Guest Principal Sue Thomas* Chair supported by Victoria Robey OBE Hannah Grayson Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick* Principal Alice Munday Cor Anglais Sue Böhling* Principal

Timpani Simon Carrington* Principal

Clarinets Robert Hill* Principal Thomas Watmough Emily Meredith Paul Richards

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport Keith Millar Jeremy Cornes Sarah Mason Richard Horne

Bass Clarinet Paul Richards Principal Bassoons John McDougall Guest Principal Gareth Newman Stuart Russell

Harp Rachel Masters* Principal

Contra Bassoon Simon Estell Principal

Piano Catherine Edwards

Horns David Pyatt* Principal Chair supported by Simon Robey John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller Timothy Ball

Celeste John Alley Organ Clíodna Shanahan * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann Nicholas Betts Co-Principal Daniel Newell

Meet our members: lpo.org.uk/players

Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton David Whitehouse Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Neil Westreich; Sonja Drexler; David & Victoria Graham Fuller

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London Philharmonic Orchestra

Full marks to the London Philharmonic for continuing to offer the most adventurous concerts in London. The Financial Times, 14 April 2014 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 ensembles in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors 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. From September 2015 Andrés Orozco-Estrada will take up the position of Principal Guest Conductor. Magnus Lindberg 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 the Hall’s opening in 1951 and been Resident Orchestra since 1992. It gives around 30 concerts there each season with many of the world’s top conductors and

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soloists. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long The Rest Is Noise festival, charting the influential works of the 20th century. 2014/15 highlights include a seasonlong festival, Rachmaninoff: Inside Out, exploring the composer’s major orchestral masterpieces; premieres of works by Harrison Birtwistle, Julian Anderson, Colin Matthews, James Horner and the Orchestra’s new Composer in Residence, Magnus Lindberg; and appearances by many of today’s most soughtafter artists including Maria João Pires, Christoph Eschenbach, Yannick Nézet-Séguin, Osmo Vänskä, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labèque and Robin Ticciati. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer it takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 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.

Vesselin Gellev leader

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 80 releases available on CD and to download. Recent additions include organ works by Poulenc and Saint-Saëns with Yannick Nézet-Séguin; Strauss’s Don Juan and Ein Heldenleben with Bernard Haitink; Shostakovich’s Symphonies Nos. 6 & 14 and Zemlinsky’s A Florentine Tragedy with Vladimir Jurowski; and Orff’s Carmina Burana with Hans Graf. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

Touring remains a large part of the Orchestra’s life: highlights of the 2014/15 season include appearances across Europe (including Iceland) and tours to the USA (West and East Coasts), Canada and China.

Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammy-nominated Absolute Ensemble. He has performed as Guest Leader with orchestras including the Royal Philharmonic Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra and the Accademia Nazionale di Santa Cecilia. Vesselin studied at The Juilliard School, and joined the London Philharmonic Orchestra as Sub-Leader in 2007.

The next LPO concert at Royal Festival Hall

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: 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.

Friday 13 February 2015 | 7.30pm

Find out more and get involved!

Tickets: £9–£39 (Premium seats £65)

lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7

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JTI Friday Series

Rachmaninoff Piano Concerto No. 4 (original version) Shostakovich Symphony No. 4 Vasily Petrenko conductor Alexander Ghindin piano

Tel: 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telphone lpo.org.uk/rachmaninoff Rachmaninoff: Inside Out is presented in co-operation with the Serge Rachmaninoff Foundation.

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Vasily Petrenko conductor

The strong musical and personal rapport Petrenko appears to enjoy with the orchestra musicians inspired a performance of Rachmaninoff’s Symphonic Dances that was rich in color, brilliance and idiomatic feeling. © Mark McNulty

John von Rhein, Chicago Tribune, January 2015

Vasily Petrenko studied at the St Petersburg Conservatoire and, following considerable success in a number of international conducting competitions including the Fourth Prokofiev Conducting Competition in St Petersburg (2003), he was appointed Chief Conductor of the St Petersburg State Academic Symphony Orchestra from 2004 to 2007. Last season marked his first as Chief Conductor of the Oslo Philharmonic Orchestra, alongside which he maintains his positions as Chief Conductor of the Royal Liverpool Philharmonic Orchestra (a position he adopted in 2009 as a continuation of his period as Principal Conductor which began in 2006), and Principal Guest Conductor of the Mikhailovsky Theatre (formerly the Mussorgsky Memorial Theatre of the St Petersburg State Opera and Ballet) where he began his career as Resident Conductor from 1994 to 1997. Vasily Petrenko has worked with many of the world’s most prestigious orchestras including the London Symphony Orchestra, Philharmonia, Russian National Orchestra, Czech Philharmonic, Vienna Symphony, and NHK Symphony Tokyo, as well as making frequent appearances at the BBC Proms. Recent years have seen a series of highly successful North American debuts, including the Philadelphia Orchestra, Los Angeles Philharmonic, and the San Francisco, Boston, Chicago and St Louis Symphony orchestras. Highlights of the 2014/15 season and beyond include return visits to the Rundfunk Sinfonieorchester Berlin, Netherlands Radio Philharmonic, Chicago Symphony, and San Francisco Symphony, tour periods in Europe and Asia with the Royal Liverpool Philharmonic and Oslo

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Philharmonic, and his debut performances with the Israel Philharmonic and Frankfurt Radio Symphony orchestras. Equally at home in the opera house, with over 30 operas in his repertoire, Petrenko made his debuts in 2010 at Glyndebourne Festival Opera (Macbeth) and the Opera de Paris (Eugene Onegin), and in recent seasons has also conducted Boris Godunov at the National Reisopera, and Eugene Onegin, La bohème and Carmen at the Mikhailovsky Theatre. Future plans include Lady Macbeth of Mtsensk for Zurich Opera and Boris Godunov for Bayerische Staatsoper Munich. Recordings with the Royal Liverpool Philharmonic Orchestra include a rare double bill of Fleishman’s Rothschild’s Violin and Shostakovich’s The Gamblers, Rachmaninoff’s Second and Third Symphonies (winner of the 2012 ECHO Klassik German Music Award for Newcoming Conductor of the Year) and a critically acclaimed series of recordings for Naxos including Tchaikovsky’s Manfred (winner of the 2009 Gramophone Award for Best Orchestral Recording). In October 2007 Vasily Petrenko was named Young Artist of the Year at the annual Gramophone Awards, and in 2010 he won the Male Artist of the Year at the Classical Brit Awards. He is only the second person to have been awarded Honorary Doctorates by both the University of Liverpool and Liverpool Hope University (in 2009), and an Honorary Fellowship of the Liverpool John Moores University (in 2012), awards which recognise the immense impact he has had on the Royal Liverpool Philharmonic and the city’s cultural scene. facebook.com/vasilypetrenkoofficial

Jorge Luis Prats piano

Hailed as a long-lost virtuoso in the grand tradition and ‘the best pianist you have never heard of’ by the BBC Music Magazine, Jorge Luis Prats gave his first recital at the Miami International Piano Festival in 2007, since when his career has undergone a dramatic ascent. His recitals at the prestigious Meister Pianisten series at the Concertgebouw in Amsterdam, the Musikverein and Konzerthaus in Vienna, the Piano 4 Etoiles series at Salle Pleyel in Paris, and the Verbier Festival have all been received with standing ovations and re-invitations. Highlights of recent seasons include Rachmaninoff’s Second and Third Concertos with the Orchestre de Paris under Paavo Järvi, and performances with the Gulbenkian Orchestra and Jukka-Pekka Saraste, Daniele Gatti and Orchestre National de France, Orchestre National du Capitole de Toulouse and Thomas Søndergård, his debut in the Boston Master Pianists, and the opening concert of the 14/15 Club Musical de Quebec series. Jorge Luis Prats was born in Camaguey, Cuba in 1956. Following his graduation from the Moscow Conservatoire, he studied at the Conservatoire de Paris with Magda Tagliaferro and the Hochschüle für Müsik und Künstler in Vienna with Paul Badura Skoda. Aged just 21, he won first prize at the prestigious Long-Jacques Thibaud Concours in Paris. Prats’ discography comprises over 20 recordings including Scriabin’s 24 Preludes, all the Rachmaninoff concertos, the Beethoven concertos, as well as works by Grieg and Chopin. His most recent recording is of Granados by Goyescas and works by Cuban composers.

Anna Samuil soprano

Anna Samuil is a principal soloist at the Deutsche Staatsoper Berlin. She has appeared at festivals and opera houses around the world including the Metropolitan Opera New York, Teatro alla Scala Milan and Royal Opera House Covent Garden. She appeared as Freia and Gutrune in Barenboim’s Ring at the 2013 BBC Proms and has worked extensively with eminent conductors such as Daniel Barenboim, Sir Neville Marriner, Zubin Mehta and Antonio Pappano. Recordings include a CD of Britten’s War Requiem with Marriner, a DVD of Eugene Onegin with Barenboim (Deutsche Grammophon), a DVD of a new production of Don Giovanni from Glyndebourne with Vladimir Jurowski (EMI) and a CD of Don Giovanni with Zubin Mehta and the Israel Philharmonic Orchestra (Helicon). Her latest recording is Beethoven’s Symphony No. 9 with Barenboim and the West-Eastern Divan Orchestra (Decca). She has given recitals and concerts throughout Europe and her wide concert repertoire includes Britten’s War Requiem, Rossini’s Petite Messe solennelle and Strauss’s Four Last Songs. Notable roles on stage include Micaela (Carmen), the title role in Rusalka, Lyudmila (Ruslan und Lyudmila), Countess (The Marriage of Figaro), Fiordiligi (Così fan tutte) and Mimi (La bohème). Future highlights include Natasha (War and Peace), Juliette (Gounod’s Roméo et Juliette) and Desdemona (Otello). facebook.com/pages/ Anna-Samuil/125497157496065

Jorge Luis Prats performs Rachmaninoff’s Second Piano Concerto youtube.com/watch?v=pS4mCiF3B6o

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Andrei Bondarenko

tenor

baritone

Russian tenor Daniil Shtoda joined the Mariinsky Academy in 1999 studying under Larissa Gergieva. He is now a soloist with the Mariinsky Theatre. In 2000 he was awarded the second prize in the Plácido Domingo Operalia Competition in Los Angeles, the same year he won the Grand Prix in the Rimsky Korsakov Competition for Young Singers in St Petersburg. He has performed at internationally renowned venues and festivals such as the Royal Opera House, Covent Garden, Metropolitan Opera, New York, Bayerische Staatsoper, Deutsche Staatsoper Berlin, Opera de Lyon, and Théâtre du Châtelet, Paris. He has collaborated with leading conductors including Claudio Abbado, Zubin Mehta, Valery Gergiev, Antonio Pappano and Plácido Domingo. In concert, he has performed with the BBC Symphony Orchestra, Berlin Philharmonic, Rotterdam Philharmonic, Rundfunk Sinfonieorchester Berlin, Mahler Chamber Orchestra, Tokyo Philharmonic Orchestra and Cleveland Orchestra amongst others. In recital, he has performed at Wigmore Hall, the Mozarteum in Salzburg, La Monnaie, the Verbier Festival and most recently at the Théâtre du Châtelet. He has also toured North America where he appeared at the Kennedy Center, Washington DC and Carnegie Hall. This season, Daniil continues as a main principal at the Mariinsky Theatre, and sings Don Ottavio (Don Giovanni) in Bergen and Don Antonio in Prokofiev’s Betrothal in a Monastery in Toulouse. His latest recording of Rachmaninoff songs accompanied by Iain Burnside was released on the Delphian label.

Daniil Shtoda sings Lensky’s Aria from Eugene Onegin youtube.com/watch?v=HHoueVhd3lo

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Daniil Shtoda

Ukrainian baritone Andrei Bondarenko has worked extensively with leading conductors including Valery Gergiev, Ivor Bolton, Vladimir Ashkenazy and Enrique Mazzola. This season and beyond, his engagements include: the Count (The Marriage of Figaro) at the Teatro Real Madrid, Robert (Iolanta) with the Gürzenich Orchestra, Marcello (La bohème) at Bayerische Staatsoper Munich and the Opernhaus Zürich, Eugene Onegin and Iolanta for the Dallas Opera, as well as Billy Budd at the Cologne Opera. He will also record the title role in Don Giovanni for Sony Classics. Other recordings include The Marriage of Figaro for Sony Classics, Rachmaninoff songs with Iain Burnside at the Queens Hall in Edinburgh for Delphian Records as well as the highly acclaimed Lieutenant Kijé Suite on the BIS label. Andrei has appeared at the Salzburg Festival, Carnegie Hall, Wigmore Hall, Glyndebourne Festival and Touring Opera and Mariinsky Theatre. He also gave his role debut as Billy in Billy Budd in the first ever production in Russia at the Mikhailovsky Theatre, St Petersburg. He sang in the theatre/opera project The Giacomo Variations alongside John Malkovich, and has toured extensively with Larissa Gergieva. He won the 2011 BBC Cardiff Singer of the World Song Prize and won first prize at the international vocal competition ‘Art in the 21st Century’ in Vorzel (Ukraine). He was a prize-winner at the 2006 International Rimsky-Korsakov vocal competition in St. Petersburg, the 2008 all-Russian Nadezhda Obuhova Young Vocalists’ Festival and Competition, and the 7th International Stanisław Moniuszko Vocal Competition in 2010. Hear how Andrei Bondarenko won the Song Prize at the 2011 BBC Cardiff Singer of the World bbc.co.uk/wales/cardiffsinger/sites/2011/pages/video.shtml

London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Ian Frost | Choir Manager Tessa Bartley

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for more than 65 years and made numerous recordings for CD, radio and television. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. As part of Southbank Centre’s The Rest Is Noise festival, the Choir performed Arvo Pärt’s Magnificat and Berlin Mass, Shostakovich’s Symphony No. 13 (Babi Yar), Poulenc’s Stabat Mater, Britten’s War Requiem, Stravinsky’s Symphony of Psalms, Orff’s Carmina Burana, Tippett’s A Child of Our Time and John Adams’s El Niño. In early 2014 the Choir performed Julian Anderson’s Alleluia – which it premiered at the reopening of Royal Festival Hall in 2007 – and Beethoven’s Symphony No. 9 under Vladimir Jurowski, repeating the latter at the Théâtre des Champs-Elysées, Paris. In November 2014 the Choir was delighted to perform Mahler’s Symphony No. 2 under the Orchestra’s new Principal Guest Conductor Designate Andrés Orozco-Estrada, and looks forward to performances of Ravel’s Daphnis et Chloé and Janáček’s Glagolitic Mass this season.

Sopranos Pippa Alderson, Annette Argent, Jane Awdry, Tessa Bartley, Hilary Bates, Sarah Bindon, Catherine Boxall, Anisoara Brinzei, Whitney Burdge, Alana Clark, Sally Cottam, Antonia Davison, Sarah Deane-Cutler, Victoria Denard, Lucy Doig, Jessica Eucker, Leander Frogley, Eloise Garland, Rachel Gibbon, Jane Goddard, Anna Greco, Emma Hancox, Sally Harrison, Louisa Hungate, Laura Hunt, Jenni Kilvert, Judith Kistner, Clare Lovett, Ilona Lynch, Rosalind Mann, Natasha Maslova, Victoria Mattinson, Janey Maxwell, Meg McClure Tynan, Carmel Oliver, Linda Park, Lydia Pearson, Danielle Reece-Greenhalgh, Priscilla Santhosham, Sarah Skinner, Tania Stanier, Cathy Stockall, Julia Warner, Susan Watts Altos Jenny Adam, Phye Bell, Sally Brien, Andrei Caracoti, Noel Chow, Yvonne Cohen, Liz Cole, Sheila Cox, Fiona Duffy-Farrell, Andrea Easey, Regina Frank, Romaine Gerber, Kathryn Gilfoy, Henrietta Hammonds, Kristi Jagodin, Marjana Jovanovic Morrison, Charlotte Kingston, Andrea Lane, Ayla Mansur, Michelle Marple, Marj McDaid, Sophie Morrison,

The Choir appears regularly at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir performed at the Doctor Who Proms in 2008, 2010 and 2013, and in 2011 appeared in Verdi’s Requiem, Liszt’s A Faust Symphony and Beethoven’s Missa Solemnis. In 2012 it performed Elgar’s The Apostles with Sir Mark Elder and Howells’s Hymnus Paradisi under Martyn Brabbins. Last year’s Proms season included Walton’s Henry V with the Academy of St Martin in the Fields and John Hurt under Sir Neville Marriner, who at 90 years old now holds the record as the oldest conductor to lead a Proms concert. A well-travelled choir, it has visited numerous European countries and appeared in Kuala Lumpur, Hong Kong and Perth, Australia. Members of the Choir performed Weill’s The Threepenny Opera in Paris, with a repeat performance in London. In 2012 and 2014 it appeared at the Touquet International Music Masters Festival in France, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit lpc.org.uk

Rachel Murray, Angela Pascoe, Sheila Rowland, Muriel Swijghuisen Reigersberg, Mayuko Tanno, Erica Tomlinson, Catherine Travers Tenors Scott Addison, David Aldred, Geir Andreassen, Chris Beynon, Kevin Darnell, Fred Fisher, Robert Geary, Iain Handyside, Patrick Hughes, Stephen Hodges, Tony Masters, Luke Phillips, Knut Olav Rygnestad, Jaka Škapin, Tony Wren, Martin Yates Basses Jonathon Bird, Peter Blamire, Gordon Buky-Webster, Geoff Clare, John Clay, Phillip Dangerfield, Marcus Daniels, Leander Diener, Ian Frost, Christopher Gadd, Paul Gittens, Mark Hillier, Stephen Hines, David Hodgson, Rylan Holey, Yaron Hollander, Martin Hudson, Steve Kirby, Anthony McDonald, John D Morris, Ashley Morrison, Will Parsons, Johan Pieters, Mike Probert, Sean Salamon, John Salmon, Ed Smith, Peter Sollich, Tom Stevenson, Peter Taylor, Alex Thomas, Hin-Yan Wong, John Wood

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Programme notes

Speedread The luxuriously sombre, post-Tchaikovskian world of Rachmaninoff and the sharp, clean anti-romanticism of Stravinsky suggest minds irreconcilably far apart. Yet when the two men met as exiles in America they became firm friends. Hearing these works side by side should be fascinating. Normally reserved, even scornful about ‘meaning’ in his works, Stravinsky admitted that the crisis of World War Two and his subsequent flight from Europe left a strong imprint on his thrilling Symphony in Three Movements.

Igor Stravinsky 1882–1971

Gustav Mahler spoke of a sense of being ‘three times homeless’; for Stravinsky the loss of home was more than a sense, it was a concrete reality. Stravinsky’s feelings about his native Russia were mixed, and as a young man he was delighted to find a new intellectual home amongst the artistic elite of Paris. But when the Russian Revolution of 1917 made return impossible, exile was more painful than Stravinsky liked to admit. The outbreak of war in 1939 forced him to uproot again, this time to the United States, where he eventually settled in Los Angeles. Added to this cocktail of trauma was the recent loss of his wife and daughter to tuberculosis, which also infected the composer himself. Stravinsky not only survived, he went on to live for another three decades, now very happily married to Vera de Bosset Sudekin, who for some time had been his mistress – a happy ending of a kind, perhaps, but in the

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Rachmaninoff’s ever-popular Second Piano Concerto similarly reflects a personal crisis – in this case re-emergence from a long and painful creative silence. Finally Rachmaninoff’s choral symphony, The Bells, evokes a subject that obsessed both composers. Bell-like sounds can be heard in all three works, and Rachmaninoff’s symphony explores a spectrum of emotional responses to their tones, from the fresh-air joyousness of sleigh-bells to the chilling knell of death.

Piano Symphony Concerto in Three No. 3Movements in D minor, Op. 30 Simon 1 =Trpčeski 160 piano 2 Andante – 1 3 Allegro Con moto ma non tanto 2 Intermezzo: Adagio – 3 Finale: Alla breve

early 1940s Stravinsky’s feelings about that would have been complicated, to say the least. Normally Stravinsky hated the idea of anyone relating his music to his real or imagined emotional state at the time he composed it. ‘Composers combine notes. That is all,’ he wrote in a note about his first major American work, the Symphony in Three Movements (1942–5). And at first sight the structure of the Symphony has something of the dignified ‘objective’ formality of a baroque concerto grosso: the piano plays a prominent role in the first movement, the harp in the second, then both join forces in the finale – especially in the final fugal section, where the combination of the two instruments creates a wonderful new colour in orchestral music.

Yet in the case of the Symphony in Three Movements Stravinsky also made some unusually frank concessions. After finishing the Symphony he claimed that each individual section was linked to impressions of the Second World War. The ferociously driven music that opens the first movement – the most thrillingly violent music Stravinsky had composed since the Rite of Spring, some 30 years earlier – was apparently inspired by a documentary about Chinese ‘scorched earth’ battle tactics. The slower, more delicately scored second movement started life as music for a scene entitled ‘Apparition of the Virgin’ in a 1943 film based on Franz Werfel’s novel The Song of Bernadette. But serenity

Serge Rachmaninoff 1873–1943

The first performance of Rachmaninoff’s First Symphony in 1897 was one of the most crushing and humiliating ordeals ever endured by a composer of genius. According to some eye-witnesses the conductor, Glazunov, was drunk. Whatever the cause, the performance was a shambles, the 24 year-old Rachmaninoff fled the hall in horror, and the critics were savage. Rachmaninoff now found himself unable to compose anything of significance. Even by the beginning of 1900 he was still in low spirits. A friend arranged a meeting with Rachmaninoff’s literary idol Tolstoy, but it was a disaster. The great man fobbed him off with platitudes: ‘Do you think I’m pleased with myself? Work. I work everyday’ – and so on. Alarmed by Rachmaninoff’s despair, an intimate family friend recommended what we would now call a hypnotherapist: Dr Nikolai Dahl. The fact that Dahl

is soon despoiled. The finale’s beginning, Stravinsky stated, was ‘a musical reaction to the newsreels and documentaries that I had seen of goose-stepping soldiers. The square march-beat, the brass-band instrumentation, the grotesque crescendo on the tuba – these are all related to those repellent pictures’. He also conceded that the Symphony’s super-bright, ‘albeit rather too commercial’, final brass chord ‘tokens my extra exuberance in the allied triumph’. So is the Symphony in Three Movements a ‘War’ symphony? Whatever the listener decides, it remains unquestionably one of Stravinsky’s most colourful, brilliant and stirring scores.

Piano Concerto No. 2 in C minor, Op. 18 Jorge Luis Prats piano 1 Moderato 2 Adagio sostenuto 3 Allegro scherzando

was also musical would have helped, of course, but even then the results were spectacular. That summer Rachmaninoff began work on a long-abandoned project – his Second Piano Concerto. The second and third movements were finished in a couple of months; the first followed at the beginning of 1901. As the date of the first performance approached, Rachmaninoff’s anxiety understandably mounted, and when a friend criticised the first movement, Rachmaninoff responded that the movement was ‘ruined, and from now on it is absolutely repulsive to me’. Fortunately the performance went ahead anyway, with the composer himself as soloist, and it was an immediate and lasting triumph. From now until his final departure from Russia in 1917, Rachmaninoff’s creative fluency was fully restored. In gratitude, Rachmaninoff

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Programme notes continued

dedicated the Concerto to Dr Dahl. Rarely, it seems, has a dedication been so thoroughly deserved. Listening to the Second Piano Concerto one would surely never guess that the slow movement and finale were actually written first. The highly original opening – rock-like solo piano chords rising by step to fortissimo – feels like someone slowly lifting a huge weight, the energy generated being sufficient to set the entire work in motion. From this a magnificent long-breathed tune emerges on strings, with swirling piano figures. This leads in time to a gentler, more reflective second theme, begun by the piano alone, whose opening phrase ingeniously anticipates ideas in the next two movements. A dark, turbulent drama develops, to which

the opening of the following Adagio sostenuto offers soothing contrast: a few bars of quiet transition from the orchestra yield to melting, liquid piano figures and a long instrumental song from flute and clarinet. The first movement’s storms are briefly remembered later on, but serenity returns, with a final flowering of the original flute and clarinet melody on strings. The finale plunges us back into the action, but now with a growing sense of excitement, until the ardent second theme rises majestically on full orchestra with an avalanche of sonorous chords from the piano. As a man Rachmaninoff may have been tormented by self-doubt, but as a composer he knew exactly how to calculate the kind of ending that could raise the roof.

Interval – 20 minutes An announcement will be made five minutes before the end of the interval. 10008-CLASS LPO Concert Programme 73x69mm.pdf

Recommended recordings of tonight’s works C

Stravinsky: Symphony in Three Movements Berlin Philharmonic/Sir Simon Rattle [EMI]

Rachmaninoff: Piano Concerto No. 2 Stephen Hough/Dallas Symphony Orchestra/ Andrew Litton [Chandos]

Rachmaninoff: The Bells Russian National Orchestra/Mikhail Pletnev [Deutsche Grammophon]

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CMY

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Serge Rachmaninoff

The Bells, Op. 35 (Poem for soprano, tenor and baritone soli, choir and orchestra) Anna Samuil soprano Daniil Shtoda tenor Andrei Bondarenko baritone London Philharmonic Choir

1 2 3 4

Allegro ma non tanto (‘The Silver sleigh-bells’) Lento (‘The mellow wedding bells’) Presto (‘The loud alarum bells’) Lento lugubre (‘The mournful iron bells’)

TEXT OVERLEAF Any musical dictionary will tell you that Rachmaninoff wrote three symphonies. But his huge choral-orchestral The Bells is a symphony in all but name; in fact it’s one of the most original choral symphonies composed after Beethoven’s Ninth. Rachmaninoff’s choice of poetry by Edgar Allan Poe as his text has drawn some sniffy remarks from English critics – in this country there is a well-entrenched literary tradition of sneering at Poe’s artificial rhythmic schemes and his admittedly sometimes contrived use of rhyme. But those same features can be a gift to a composer, suggesting musical possibilities to an open and unprejudiced mind. It is striking too that Poe’s poetry has been much more inspirational abroad – to French and Scandinavian composers for instance – and, thanks to Konstantin Balmont’s fine translations, to Russians like Rachmaninoff. It wasn’t just the sound of Balmont’s Poe translations that attracted Rachmaninoff. The fatalism of Poe’s ‘The Bells’, with its gradual but inevitable transition from the innocent hopefulness of the first two sections, through grim experience in the third to the bleak funereal imagery of the ending, fitted Rachmaninoff’s temperament like a well-worn winter coat. Moreover hearing the awe-inspiring sound of Russian church bells had been one of the most vividly recalled experiences of his childhood. So we owe a great deal to the young cellist Maria Danilova whose idea it was to send Balmont’s version of ‘The Bells’ anonymously to Rachmaninoff in 1912. A year later – ‘mad with joy’ according to one account – Danilova read of the result:

Rachmaninoff had transformed the poem into a colossal symphony. The premiere was one of Rachmaninoff’s greatest successes, and The Bells remained one of the composer’s own special favourites. Aside from the challenging vocal writing – challenging for soloists and chorus alike – Rachmaninoff shows a new daring in his use of orchestral colour in The Bells. The opening evocation of ‘silver sleigh-bells’ on harp, piano, celeste and glockenspiel is delicious, but the use later on of the same instruments (minus the glockenspiel) with chorus quietly humming, at the image of the ‘universal slumber’ that awaits us all, sends a prophetic chill through the music. The introduction to the second movement’s ‘mellow wedding bells’ is likewise strangely chilling. The rapt luxuriant lyricism that follows doesn’t quite dispel this shadow, and in the chorus’s final phrases one of those shadows becomes more distinct. Rachmaninoff had a lifelong fascination with the medieval Catholic funeral chant Dies irae – ‘Day of wrath’. It has already been hinted at in The Bells, but so far this is its clearest manifestation. The progressive darkening of the bell imagery gathers pace in the third movement, where evocation of ‘loud alarum bells’ builds in a long, steady dramatic crescendo conveying growing panic and, finally, despair. Now it is the turn of death, invoked by quietly tolling strings, harp and horns, lamenting cor anglais and a sombre priestlike bass solo. At the end however the music offers a kind of comfort not suggested by the words. ‘There is neither rest nor respite, save the quiet of the tomb’, Poe tells us; yet Rachmaninoff’s finale strings, harp and quietly soaring solo flute seem to tell us that ‘rest’ and ‘respite’ are at least a possibility. Programme notes © Stephen Johnson

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The Bells text

Slyshish, slyshish, sani mchatsja v ryad, mchatsja v rjad. Kolokolchiki zvenyat, serebristym lehkim zvonam slukh nash sladostna tamyat etim penem i gudenem a zabvene govoryat. O, kak zvonka, zvonka, zvonka, tochna zvuchnyj smekh rebyonka, v yasnom vozdukhe nochnom govoryat oni o tom, shto za dnyami zabluzhdenye nastupayet vozrazhdenye, shto volshebno naslazhdene, naslazhdene nezhnym snom. Sani mchatsya, sani mchatsya v ryad, kolokolchiki zvenyat, zvyozdy slushayut, kak sani, ubegaya, govoryat, i vnimaya im, goryat, i mechtaya, i blistaya, v nebe dukhami paryat; i izmenchivym siyanem, molchalivym abayanem, vmeste s zvonam, vmeste s penem, a zabvene govoryat.

Hear, hear, the sleighs fly past in line, fly in line. The little bells ring out, their light silvery sound sweetly obsesses our hearing with their singing and their jingling they tell of oblivion. Oh, how clearly, clearly, clearly, like the ringing laughter of a child, in the clear night air they tell the tale, of how days of delusion will be followed by renewal, of the enchanting delight, the delight of tender sleep. The sleighs fly past, the sleighs fly past in line, the little bells ring out, the stars listen, as the sleighs fly into the distance, with their tale, and listening, they glow, and dreaming, glimmering, spread a scent in the heavens; and with their flickering radiance and their silent enchantment, together with the ringing, together with the singing, they tell of oblivion.

Slyshysh k svadbe zov svyatoy zolotoy. Skolko nezhnava blazhenstva v etoy pesne molodoy! Slyshysh, k svadbe zov … Skvos spokoynyi vozdukh nochi slovno smotryat chi-ta ochi i blestyat, iz volny pevuchikh zvukov, na lunu oni glyadyat. Iz prizyvnykh divnykh keliy, polny skazachnykh veseliy, narastaja, upodaya, bryzgi svetliye letyat. Vnov potukhnut, vnov blestyat, i ronyayut svetlyi vzglyad na gryadushcheye,

Hear the holy call to marriage of golden bells. How much tender bliss there is in that youthful song! Hear the call to marriage … Through the tranquil night air it is like someone’s eyes glowing, and through the waves of singing sounds, gazing at the moon. From beckoning, wondrous cells, filled with fairytale delights, soaring, falling, fly out sparks of light. Dimmed again, glowing again, they shed their radiant light on the future,

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gde dremlyet bezmyatezhnost nezhnykh snov, vozveshchayemykh soglasem zolotykh, zolotykh kolokolov. Slyshysh k svadbe zov svyatoy zolotoy.

where tender dreams slumber tranquilly, heralded by the golden harmony, harmony of golden bells. Hear the holy call to marriage of golden bells.

Slyshysh, slyshysh, voyushchiyi nabat, tochna stonet mednyi ad. Eti zvuki, v dikoy muke, skasku uzhasov tverdyat. Tochna molyat im pomoch, krik kidayut pryama v noch, pryama v ushi temnoy nochi, kazhdyi zvuk, to dlinneye, to koroche, vozveshchayet svoj ispug. I ispug ikh tak velik, tak bezumen kazhdyi krik, shto razorvanniye zvony, nespasobnye zvuchat, mogut tolko bitsya, bitsya, i krichat, krichat, krichat, tolko plakat o poshchade i k pylayushchev gramade vopli skorbi obrashchat. A mezh tem ogon bezumnyi, i glukhoy i mnogoshumnyi, vsyo gorit. To iz okon, to po kryshe, mchitsya vyshe, vyshe, vyshe, i kak budto govorit: â&#x20AC;&#x201D; Ya khochu vyshe mchatsya, razgoratsya vstrechu lunnamu luchu. Il umru, il totchas vplot da mesyatsa vzlechu. O, nabat, nabat, nabat, yesli b ty vernul nazad etot uzhas, eto plamya, etu iskru, etot vzglyad, etot pervyi vzglyad ognya, o kotorom ty veshchayesh s voplem, s plachem, i zvenya. A teper nam net spasenya, vsyudu plamya i kipene a teper nam net spasenya, vsjudu strakh i vozmushchene. Tvoj prizyv, dikikh zvukav nesaglasnost, vozveshchayet nam opasnost, to rastyot beda glukhaya, to spadayet, kak priliv.

Hear, hear, the howling of the alarm bell, like the groaning of a brazen hell. These sounds, in a wild torment, keep repeating a tale of horror. As though begging for help, hurling cries into the night, straight into the ears of the dark night, every sound, now strange, now shorter, proclaims its terror. And so great is their terror, so desperate every shriek, that the tortured bells, incapable of ringing out, can only batter, batter, and shriek, shriek, shriek, only weep for mercy and to the thunderous blaze address their wails of grief. But meanwhile the raging fire, both heedless and tumultuous, ever burns. From the windows, on the roof, it soars higher, higher, higher, as though announcing: â&#x20AC;&#x201D; I want to soar higher, and aflame meet the beams of moonlight. I will die, or now, now fly right up to the moon. O alarm bell, alarm bell, alarm bell, if you could only take back the horror, the flames, the spark, the look, that first look of the fire, which you proclaim with your howls and cries and wails. But now we are past help, the flames seethe everywhere, but now we are past help, everywhere is fear and wailing. Your call, this wild, discordant noise, proclaims our peril, the hollow sounds of misfortune, flowing and ebbing like a tide. Please turn the page quietly London Philharmonic Orchestra | 15

Slukh nash chutka lovit volny v peremene zvukavoy, vnov spadayet, vnov rydayet, medno-stonushchyi priboy.

We can only hear the waves in the changing sounds, now ebbing, now sobbing, of the brazen groaning surf.

4 Hear the funeral knell, lengthy knell! Hear the sound of bitter sorrow, ending the dream of a bitter life. The iron sound proclaims a funeralâ&#x20AC;&#x2122;s grief. And we unwittingly shiver, hurry away from our amusements, and we weep, and remember, that we too shall close our eyes. Unchanging and monotonous, that faraway call, the heavy funeral knell, like a groan, plaintive, angry, and lamenting, swells to a lengthy booming. It proclaims that a sufferer sleeps the eternal sleep. From the belfryâ&#x20AC;&#x2122;s rusty cells for the just and the unjust it sternly repeats its theme: that a stone shall cover your heart, that your eyes will close in sleep. As the mourning torch burns someone shrieks from the belfry, someone is loudly talking. Someone dark is standing there, laughing and roaring, and howling, howling, howling. He leans against the belfry, and swings the hollow bell, and the hollow bell sobs and groans through the silent air, slowly proclaiming the stillness of the grave.

Pokhoronnyi slyshen zvon, dolgiy zvon! Gorkoy skorbi slyshny zvuki, gorkoy zhizni konchen son. Zvuk zheleznyi vozveshchayet o pechali pokhoron. I nevolna my drazhim, ot zabav svoikh speshim, i rydayem, vspominayem, shto i my glaza smezhim. Neizmenno monotonnyi, etat vozglas otdalennyi, pokhoronnyi tyazhkiy zvon, tochna ston, skorbnyi, gnevnyi, i plachevnyi, vyrastayet v dolgyi gul. Vozveshchayet, shto stradalets neprobudnym snom usnul. V kolokolnych kelyach rzhavykh on dlya pravykh i nepravykh grozna vtorit ob odnom: shto na sertse budet kamen, shto glaza samknutsya snom. Fakel traurnyi gorit, s kolokolni kto-to kriknul, kto-to gromko govorit. Kto-to chyornyi tam stoit, i khokhochet, i gremit, i gudit, gudit, gudit. K kolokolne pripadayet, gulkiy kolokol kochayet, gulkiy kolokol rydayet, stonet v vozdukhe nemom, i pratyazhno vozveshchayet o pokoye grobovom. Edgar Allan Poe, translated by Konstantin Balmont

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2015/16 season at Royal Festival Hall Highlights 2015

2016

Wednesday 23 September Mahler Symphony No 7 Vladimir Jurowski conductor

Shakespeare400 In 2016 the LPO joins many of London’s other leading cultural institutions to celebrate the legacy of Shakespeare, 400 years since his death. Highlights include:

Wednesday 14 October Penderecki conducts Penderecki including UK premieres of Harp Concerto and Adagio for Strings

Wednesday 3 February Dvorˇák Overture, Otello

Saturday 31 October Bruckner Symphony No. 5 Stanisław Skrowaczewski conductor Friday 6 November A celebration of Mexican orchestral music Alondra de la Parra conductor JTI Friday Series

Wednesday 10 February Sibelius The Tempest (extracts) Friday 15 April Prokofiev Romeo and Juliet (extracts) JTI Friday Series Saturday 23 April Anniversary Gala Concert Including: Verdi Otello and Falstaff (extracts) Music from Britten, Mendelssohn and Walton Vladimir Jurowski conductor Simon Callow director Booking now Tickets from £9.00 Ticket office 020 7840 4242 lpo.org.uk

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We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Neil Westreich William and Alex de Winton Simon Robey Victoria Robey OBE Julian & Gill Simmonds* Anonymous Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Mrs Philip Kan* Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett John & Manon Antoniazzi John & Angela Kessler Guy & Utti Whittaker * BrightSparks patrons. Instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

Principal Benefactors Mark & Elizabeth Adams Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook David Ellen Mr Daniel Goldstein Drs Frank & Gek Lim Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Mr Michael Posen Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mrs A Beare David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Georgy Djaparidze Mr David Edgecombe Mr Timothy Fancourt QC Mr Richard Fernyhough Tony & Susan Hayes Michael & Christine Henry Malcolm Herring J. Douglas Home Ivan Hurry Mr Glenn Hurstfield

Per Jonsson Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Ms Ulrike Mansel Robert Markwick Mr Brian Marsh Andrew T Mills John Montgomery Dr Karen Morton Mr & Mrs Andrew Neill Tom & Phillis Sharpe Martin and Cheryl Southgate Professor John Studd Mr Peter Tausig Mrs Kazue Turner Simon Turner Howard & Sheelagh Watson Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK Berenberg British American Business Carter-Ruck Bronze: Appleyard & Trew LLP BTO Management Consulting AG Charles Russell Speechlys Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets Trusts and Foundations Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust

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Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Peter Carr Charitable Trust, in memory of Peter Carr The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Hinrichsen Foundation The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leche Trust London Stock Exchange Group Foundation Marsh Christian Trust The Mayor of London’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust The Ann and Frederick O’Brien Charitable Trust

Office for Cultural and Scientific Affairs of the Embassy of Spain in London Palazzetto Bru Zane – Centre de musique romantique française The Austin and Hope Pilkington Trust Polish Cultural Institute in London PRS for Music Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Serge Rachmaninoff Foundation Romanian Cultural Institute Schroder Charity Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust The Steel Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous

Sound Futures Donors We are grateful to the following donors for their generous contributions to Sound Futures, which will establish our first ever endowment. Donations from those below have already been matched pound for pound by Arts Council England through a Catalyst Endowment grant. By May 2015 we aim to have raised £1 million which, when matched, will create a £2 million fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre. We thank those who are helping us to realise the vision. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust Welser-Möst Circle John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Simon Robey Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas John & Manon Antoniazzi Georgy Djaparidze Mrs Mina Goodman and Miss Suzanne Goodman Robert Markwick & Kasia Robinski The Rothschild Foundation Haitink Patrons Mark & Elizabeth Adams Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Bruno de Kegel Mr Gavin Graham Moya Greene Tony and Susie Hayes Catherine Høgel & Ben Mardle Mrs Philip Kan Rose and Dudley Leigh

Rehmet Kassim-Lakha Mr Geoffrey Kirkham Peter Leaver Drs Frank & Gek Lim Peter Mace Mr David Macfarlane Geoff & Meg Mann Marsh Christian Trust Dr David McGibney Michael & Patricia McLaren-Turner John Montgomery Rosemary Morgan Paris Natar Mr Roger H C Pattison The late Edmund Pirouet Mr Michael Posen Sarah & John Priestland Mr Christopher Queree Mr Peter Russell Mr Alan Sainer Pritchard Donors Tim Slorick Ralph and Elizabeth Aldwinckle Lady Valerie Solti Michael and Linda Blackstone Timothy Walker AM Business Events Sydney Laurence Watt Lady June Chichester Mr R Watts John Childress & Christiane Wuillamie Des & Maggie Whitelock Lindka Cierach Christopher Williams Paul Collins Peter Wilson Smith Mr Alistair Corbett Victoria Yanakova David Dennis Mr Anthony Yolland Mr David Edgecombe David Ellen And all other donors who wish to Mr Timothy Fancourt QC remain anonymous Karima & David G Mr Daniel Goldstein Mr Derek B. Gray Mr Roger Greenwood Rebecca Halford Harrison Honeymead Arts Trust Mrs Dawn Hooper Lady Roslyn Marion Lyons Miss Jeanette Martin Diana and Allan Morgenthau Charitable Trust Dr Karen Morton Ruth Rattenbury Sir Bernard Rix Kasia Robinski David Ross and Line Forestier (Canada) Carolina & Martin Schwab Tom and Phillis Sharpe Dr Brian Smith Mr & Mrs G Stein Miss Anne Stoddart TFS Loans Limited Lady Marina Vaizey Ms Jenny Watson Guy & Utti Whittaker

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Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Neil Westreich * Player-Director Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix 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 Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Alison Atkinson Digital Projects Director

Alexandra Clarke Education and Community Project Manager

Matthew Freeman Recordings Consultant

Amy Sugarman PA to the Chief Executive / Administrative Assistant Finance David Burke General Manager and Finance Director

Lucy Duffy Education and Community Project Manager

Public Relations Albion Media (Tel: 020 3077 4930)

Richard Mallett Education and Community Producer