London Philharmonic Orchestra 12 April Concert Programme, Eastbourne by London Philharmonic Orchestra

Congress Theatre, Eastbourne Concert programme lpo.org.uk

Winner of the 2013 RPS Music Award for Ensemble Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Leader pieter schoeman† Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Congress Theatre, Eastbourne Sunday 12 April 2015 | 3.00pm

Elgar Introduction and Allegro for strings, Op. 47 (13’) Mendelssohn Violin Concerto in E minor (27’) Interval Beethoven Symphony No. 7 in A major, Op. 92 (36’)

Programme £2.50 Contents 2 3 4 5 6 7 8 13 14 15 16

Welcome Orchestra News On stage About the Orchestra Leader: Vesselin Gellev Domingo Hindoyan Madalyn Parnas Programme notes LPO Eastbourne Appeal 2015/16 autumn concerts Supporters Sound Futures donors LPO administration

The timings shown are not precise and are given only as a guide.

Domingo Hindoyan conductor Madalyn Parnas violin

* supported by the Tsukanov Family Foundation † supported by Neil Westreich CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL

Welcome

Orchestra news

Welcome to the Congress Theatre, Eastbourne

New season 2015/16 We are delighted to announce the launch of the LPO’s new season at Eastbourne Congress Theatre. Highlights include performances of Beethoven’s Symphony No. 3 ‘Eroica’ alongside concertos popular and some not so well known, such as the little-heard gem, Medtner’s Piano Concerto No. 2. The season culminates in a concert with the Classic BRIT Award-winning guitarist Miloš Karadaglić performing Castelnuovo-Tedesco’s beautifully intoxicating Guitar Concerto No. 1. Full details can be found in the brochures handed out at this afternoon’s concert, or pick one up in the foyer. lpo.org.uk/whats-on-and-tickets

Artistic Director Chris Jordan General Manager Gavin Davis Welcome to this afternoon’s performance by the London Philharmonic Orchestra. We hope you enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones and watch alarms are switched off during the performance. Thank you. We are delighted and proud to have the London Philharmonic Orchestra reside at the Congress Theatre for the 18th year. Thank you, our audience, for continuing to support the concert series. Without you, these concerts would not be possible. We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email theatres@eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

LPO at Glyndebourne wins award More exciting news! It was announced on 7 April that the 2011 Glyndebourne CD recording of Die Meistersinger von Nürnberg with the LPO conducted by Principal Conductor and Artistic Advisor Vladimir Jurowski has won in the category of Best Opera for the BBC Music Magazine Awards 2015. ‘Musically,’ wrote Tim Ashley in The Guardian, ‘it was judged faultlessly for the scale of the theatre by Vladimir Jurowski, who conjured playing of mercurial clarity from the London Philharmonic Orchestra.’ classical-music.com/awards Next LPO label release The LPO recordings catalogue continues to grow apace. Our next release is Bruckner’s mighty Symphony No. 3, performed by the Orchestra under the renowned Bruckner specialist, Stanisław Skrowaczewski. Recorded live at Royal Festival Hall in March last year, according to one reviewer, Skrowaczewski gave it ‘a distinctive and personal interpretation that was clearly the result of a lifetime’s experience with the music.’ The CD (LPO-0084) will be available from 30 March priced £9.99, and can be purchased or downloaded at: lpo.org.uk/recordings

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On stage

First Violins Vesselin Gellev Leader Ilyoung Chae Chair supported by an anonymous donor

Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Rebecca Shorrock Galina Tanney Amanda Smith Maeve Jenkinson Robin Wilson Kate Cole John Dickinson Alice Hall Second Violins Jeongmin Kim Principal Nancy Elan Fiona Higham Joseph Maher Dean Williamson Helena Nicholls Sioni Williams Sheila Law Elizabeth Baldey Suzannah Quirke

Violas Jon Thorne Guest Principal Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Martin Fenn Richard Cookson

Clarinets Thomas Watmough Principal Paul Richards

Cellos Pei-Jee Ng Guest Principal Francis Bucknall Santiago Carvalho† David Lale Sue Sutherley Susanna Riddell

Horns David Pyatt* Principal

Double Basses George Peniston Principal Laura Murphy Lowri Morgan Helen Rowlands

Trumpets Paul Beniston* Principal Anne McAneney*

Flutes Tom Hancox Guest Principal Hannah Grayson

Timpani Simon Carrington* Principal

Oboes Ian Hardwick* Principal Alice Munday

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert:

Bassoons Richard Skinner Guest Principal Emma Harding

Neil Westreich; Eric Tomsett; Sonja Drexler; David & Victoria Graham Fuller; Bianca and Stuart Roden; Victoria Robey OBE; William & Alex de Winton; Friends of the Orchestra; Andrew Davenport

Chair supported by Simon Robey

John Ryan* Principal Martin Hobbs Gareth Mollison

Chair supported by Geoff & Meg Mann

Tom Rainer

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

Another evening of ambition and high quality with the London Philharmonic Orchestra. Richard Fairman, Financial Times, March 2015 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, 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 Poulenc and Saint-Saëns organ works with Yannick Nézet-Séguin and organist James O’Donnell; Strauss’s Don Juan and Ein Heldenleben with Bernard Haitink; Brahms’s Symphonies Nos. 3 & 4 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 Grammynominated Absolute Ensemble. Vesselin 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 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. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

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Domingo Hindoyan conductor

Conducting Beethoven’s Seventh Symphony without a score ... Hindoyan carved out a trajectory as deliberate and serious as possible without compromising that dance-like nature. Riah Evans, The Guardian, January 2015

Born in Caracas, Venezuela, Domingo Hindoyan showed an early fascination for leading from the podium: he was taken to concerts by his father, violinist and Executive Director of the Orquesta Sinfonica Venezuela during the 1980s where, as a four-year-old, he would stand in the aisle of the concert hall and imitate the conductor. The older Domingo went on to study violin and became a member of the renowned Venezuelan musical education programme, El Sistema. Domingo has had great success conducting orchestras such as the Philharmonia, Royal Scottish National, Orchestre de la Suisse Romande, Basel Symphony, Orchestre de Chambre de Lausanne, Orchestre Philharmonique Royal de Liège, Orquesta de Valencia, New Japan Philharmonic Orchestra and Simon Bolivar Symphony Orchestra. Increasingly, he is also gaining recognition as an outstanding opera conductor and, from the 2013/14 season, was appointed as the first assistant to Daniel Barenboim at Berlin Staatsoper. His role developed very quickly and this season he will conduct over 20 performances in Berlin including La traviata, Tosca, The Barber of Seville, and The Rake’s Progress with many more to follow next season. Looking ahead, he will conduct various operas and ballets at Berlin Staatsoper, Zurich Opera, Opéra National de Lorraine and Opéra National de Paris. He will not only return to the Philharmonia Orchestra, Orchestre de Chambre de Lausanne and Orchestre de la Suisse Romande, but also work with Orchestre Philharmonique de Liège, Orchestra Philharmonique de Radio France and Ulster Orchestra.

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In 2012, he was invited to join the prestigious Allianz International Conductors Academy, where he worked with the London Philharmonic and Philharmonia orchestras, under conductors Esa-Pekka Salonen, Sir Andrew Davis and John Carewe. He obtained a master’s degree in conducting at the Conservatoire de Genève with the highest distinction and perfected his conducting skills further at several masterclasses including with Bernard Haitink (2008), Jésus López-Cobos (2009) and David Zinman (2010). Whilst Domingo is gaining international recognition, he maintains close ties with his native Venezuela where he is a regular guest conductor within El Sistema. Domingo has won several conducting prizes. In 2010, he was awarded second prize at the Cadaqués International Conducting competition, and in 2009 he received fourth prize at the Malko International conducting competition. He was also a semi-finalist at the Besançon conducting competition (2009) and a finalist at the López-Cobos International Opera Conductors Competition in Madrid (2008).

facebook.com/domingo.hindoyan @DGarciaHindoyan

Madalyn Parnas violin

Madalyn gave a fiery account of Lutosławski’s Subito, a work ... packed with technical challenges. Ms Parnas negotiated this minefield with assurance and vigour.

Allan Kozinn, The New York Times

American violinist Madalyn Parnas brings a unique style, artistry, and musical vision to each performance she gives. This season, Madalyn performs with the Alexandria and Schenectady Symphony orchestras, and presents the premiere of Sandström’s violin concerto, Force and Beauty. Her chamber music concerts include performances at the Kennedy Center, New York’s Subculture, Minneapolis’s Museum of Russian Art, the San Francisco Academy of Achievement International Summit as a 2014 delegate, as well as in Shanghai and Macao while on tour in Asia. Madalyn made her orchestral debut aged twelve with the Woodstock Chamber Orchestra. Numerous concerto competition prizes led to many concert engagements, and today she has performed more than 60 times as soloist throughout the US and Europe. Last year she toured with L’Orchestre National des Pays de la Loire performing the Saint-Saëns Violin Concerto No. 3 and La Muse et le Poète, and, as a featured artist-in-residence at the El Paso Pro-Musica Festival, she performed with the El Paso Symphony. Her many other appearances include with the New York String Alumni Orchestra conducted by Jaime Laredo, with David Alan Miller’s Albany Symphony Orchestra, and Randall Fleisher’s Hudson Valley Philharmonic. Her chamber music career began in 1997 when she and life-long musical partner and sister, cellist Cicely Parnas, performed on stage as a duo. Ten years later at Carnegie Hall, they took first prize in the international chamber music competition. They have performed with renowned artist Peter Serkin as the Parnas/Serkin Trio, and have collaborated with Jaime Laredo, Sharon Robinson, Peter Wiley and Maxim Vengerov, among others. The duo parnas has performed in festivals throughout North

America, Europe, Asia, and Israel and their upcoming debut at the Sitka Music Festival features performances with Zuill Bailey, Navah Perlman, and Thom Moore. The duo parnas has released three albums on the Sheffield Lab label. The latest recording, duo parnas NOW (2014) features award-winning composers of the 21st century, including Lera Auerbach and William Bolcom. The Other Side of Time (2012) for Albany Records is an album of works by composer Brian Fennelly, featuring the duo as soloists with David Dzubay’s New Music Ensemble in a live performance of Fennelly’s double concerto, Fantasia Concertante. After this concerto took first prize in competition, the duo recorded it with the Fauxharmonic Orchestra, an ensemble of digital instruments ‘conducted’ by Paul Henry Smith. Her current recording project with Aqua, an Argentinian/Latin American label, will be distributed by Naxos. Madalyn has an MA in Violin Performance, graduating with distinction from London’s Royal Academy of Music; and is currently pursuing her Doctorate in Musical Arts at Indiana University. Her teachers include grandfather and legendary cellist Leslie Parnas, György Pauk, Jaime Laredo, James Buswell, and Betty-Jean Hagen. bit.ly/1D1NoP8 facebook.com/madalyn.parnas.7 Madalyn and her sister, cellist Cicely, reveals to students some home truths about the life of the professional musician. bit.ly/1D1NoP8 London Philharmonic Orchestra | 7

Programme notes

Speedread Two compositions of enormous vigour and force occupy the framing positions in tonight’s concert: Elgar’s Introduction and Allegro for strings is perhaps his most brilliantly uplifting works, rightly seen as among the very finest of its kind; and Beethoven’s Seventh Symphony, despite containing his most sombrely moving slow movements, is prevailingly a thing of heady exuberance, which in places

Edward Elgar

(the finale especially) almost seems an embodiment of physical energy in music. In between comes the contrast, in the form of one of the most smoothly finished concertos ever composed: Mendelssohn’s work combines virtuosity, lightness of touch, lyrical warmth and poignant expression, all with apparently effortless skill.

Introduction and Allegro for strings, Op. 47

1857–1934

Courtesy of The Elgar Birthplace Museum

‘Some think it the finest thing he has written,’ Alice Elgar wrote to a friend after the premiere of her husband’s new piece for string orchestra at the Queen’s Hall in London in March 1905. ‘The critics – some of them – of course were frightened by it, but happily the audiences judge for themselves.’ In fact the critics carried the day on this occasion, the Introduction and Allegro largely disappeared from the repertoire for many years, and only with the rise of the specialist chamber orchestra after the Second World War did it re-emerge to take its place among the greatest compositions for orchestral strings. Michael Kennedy, the perceptive biographer of Elgar, who died at the very end of last year, was typically to-the-point when he summed it up as ‘one of Elgar’s finest creations, spacious, elusive, lyrical’.

Elgar with Professor Sanford, dedicatee of Introduction and Allegro

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The impulse to compose the work had come in 1904, when Elgar’s publisher suggested he write something for the strings of the newly founded London Symphony Orchestra (Elgar developed the idea further by including

a role for a solo string quartet). Yet at least one of the musical ideas dated further back; while on holiday in Cardiganshire in 1901 Elgar had heard distant singing as he stood on a cliff by the sea. ‘The songs were too far away to reach me distinctly,’ he recalled in his programme note, ‘but one point common to all was impressed upon me, and led me to think, perhaps wrongly, that it was a real Welsh idiom. I mean the fall of a third.’ That ‘fall of a third’ – the interval between two notes, the second two steps lower than the first – found its way into the solo viola theme that appears not long after the opening. Thus, according to Elgar, the piece became ‘a tribute to that sweet borderland where I have made my home.’

Felix Mendelssohn 1809–47

The Mendelssohn Violin Concerto is one of the bestloved in the repertoire, but it deserves recognition, too, as one of the greatest and most significant. So familiar has it become that it is easy to overlook the fact that it is full of innovation, that the writing for the soloist is brilliantly conceived throughout, and that its effortless melodies and translucent scoring are the work of a master craftsman at his most inspired. Its influence on later concerto composers can also be too easily missed, to the extent that the great 20th-century analyst Donald Tovey wrote of envying ‘the enjoyment of anyone who should hear the Mendelssohn Concerto for the first time and find that, like Hamlet, it was full of quotations.’ Mendelssohn’s first ideas for it came in the summer of 1838. ‘I would like to write a violin concerto for you for next winter,’ he revealed in a letter to his

The Introduction opens with a striking, plummeting motif which is immediately contrasted with a more wistful rising and falling figure, and later followed by the ‘Welsh’ theme. The Allegro section uses all of these, but contains at its heart a great fugue, as brilliant and vigorous as any composed after Beethoven, and whose climax and slide into the return of the rising-falling theme is superbly achieved. The work then ends in a sonorous and exhilarating wall of string sound.

Violin Concerto in E minor, Op. 64 Madalyn Parnas violin 1 Allegro molto appassionato – 2 Andante – 3 Allegretto non troppo – Allegro molto

friend Ferdinand David, then leader of the Leipzig Gewandhaus Orchestra of which Mendelssohn himself was conductor; ‘one in E minor is stuck in my head, and its beginning allows me no peace.’ In the event, it would take him another seven years to finish the work, with the next few bringing only the odd vague mention of it, despite gentle but understandable pressure from David. As a composer, conductor, pianist and administrator, Mendelssohn was one of the busiest musicians in Europe, and there must have been long periods when no work was done on it at all, but there is also evidence that at one stage he started to redraft it as a piano concerto. At last, in the summer of 1844, he sat down and pushed it through to completion, though even then revisions continued – many on the advice of David – up to and after the premiere, given by David and the Gewandhaus (conducted by Niels Gade) on 13 March 1845.

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Programme notes continued

The innovations in Mendelssohn’s Violin Concerto are perhaps unobtrusive ones, but no less significant for that; many are concerned with connecting the piece up and making it less obviously sectional and formal. Thus, it opens with the lyrical main theme announced by the soloist without waiting for the customary orchestral introduction, the move into the central development section is smoothed over, and the return to the home key is reached by quiet stealth. This last achieved, Mendelssohn again subverts convention by introducing

his solo cadenza (normally found near the end of the movement) and then cleverly overlapping it with the return of the main theme. A held note from the bassoon links the first movement to the second, a lyrical gem of song-like simplicity. It leads to a short passage wistfully reminiscent of the first movement’s main theme, but any suggestion of melancholy is soon forgotten when this turns out to be another transition, this time to the exhilarating Mendelssohnian lightness and grace that is the finale.

Interval – 20 minutes A bell will be rung a few minutes before the end of the interval.

Ludwig van Beethoven 1770–1827

The movement titles and specific bird-calls of the Pastoral Symphony No. 6 are about as explicit as Beethoven got when it came to noting down ‘meanings’ for his major works. The man who first realised the symphony’s universal expressive potentialities in the Eroica, and for whom extra-musical inspirations formed an important part of his creative thinking, was usually happy to let his music do the talking: ‘the listener should be able to discover the situations himself,’ he wrote on sketches for the Pastoral. And while few could deny that the Eroica seems to embody a sense of rebirth, or that the Fifth marks out some kind of journey from darkness to light, the composer left no actual clues that he thought of them thus. It is the music which communicates these things so strongly that we feel we understand them.

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Symphony No. 7 in A major, Op. 92 1 Poco sostenuto – Vivace 2 Allegretto 3 Presto 4 Allegro con brio

Compared to the above symphonies, the Seventh is a little harder to pin down. The rhythms that dominate each one of its movements have given rise to one oft-quoted appraisal: Wagner’s description of it as ‘the apotheosis of the dance’. But could that not equally well be said of a Bach Suite? And by the time it has ended, has the Seventh Symphony not expressed a purer and freer form of euphoria than might primarily be associated with dancing? The modern Beethoven scholar David Wyn Jones has suggested that in this work Beethoven set himself the challenge of moulding a ‘continuous, cumulative celebration of joy’, and this seems a more accurate assessment than Wagner’s. Yet even then, how exactly does the melancholic second movement fit in?

The perceptions of the Seventh’s earliest audiences may well have been determined by the timing and circumstances of the premiere. It was first performed in December 1813 in the Hall of Vienna University in a charity concert organised to raise funds for the widows and orphans of wounded soldiers. Austria and her allies had recently scored a significant victory over Napoleonic forces at the Battle of Hanau, and, no doubt, the concert had a patriotic air; also on the programme was Beethoven’s noisy battle-piece Wellington’s Victory, and it would be no surprise if the jubilant Seventh was seen at first as another war celebration – the second movement could then even be a lament for the wounded of the type traditional in such pieces. But in fact it had been completed long before Hanau, in the spring of the previous year.

are typically Beethovenian, a lithe and playful mix of light-footed passages and forte outbursts in the outer sections, and deceptive simplicity in the twice-heard contrasting section, said to have been based on the melody of an Austrian pilgrim hymn.

The Seventh starts with a massive slow introduction, the longest in any of Beethoven’s symphonies. Its leisurely wind themes contain few hints at the energy soon to be unleashed, but there is a coiled-spring quality to the heavy accents and upward string scales that accompany them. When the main part of the first movement arrives, however, it is not with a rush or a bang but with a gentle slide into the principal theme, a lilting melody announced by the flute. This is also where we meet the movement’s defining rhythmic unit, a three-note figure (think of the rhythm of the word ‘Amsterdam’), which from these unassuming beginnings gathers the power to dominate almost as obsessively, and in its way as powerfully, as the more famous four-note motif of the Fifth Symphony.

Programme notes © Lindsay Kemp

In the finale the music reaches its peak of elation in an unstoppable swirl of ebullience and energy, driven along by off-beat accents and prodding repeated-note figures. It is a subtlety worth listening out for when in the central development section Beethoven makes the two-note accompaniment figure in the bass of the main theme a subject for discussion among the orchestra, but really for the listener there is little choice here but to abandon oneself to the music’s engulfing exuberance.

The second movement is one of the most striking in all of Beethoven’s symphonies, and one of the most immediately influential. It was encored at the first performance – a testament, presumably, both to its extraordinary affecting power and its ‘stand-out’ quality within the symphony – and it did not take long for it to make its mark on other composers. Its insistent slow march – actually a set of variations on a minor-key theme, twice interrupted by consolatory major-key episodes – soon found imitators. Schubert in particular returned many times both to its mood and to its characteristic long-short-short rhythm. With the third movement, a scherzo, we return to the prevailingly joyful tenor of the work. The main sections

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Eastbourne Symphony Orchestra www.eso.org.uk

Sunday 19 April 2015, 7.30pm St Saviour’s Church, South Street, Eastbourne BN21 4UT in concert with

Eastbourne Symphony Chorus Eastbournian Society Chorus

Haydn’s Creation

Conductor

Graham Jones Leader

Lisa Wigmore

Bass Jozik Kotz

Tenor Andrew Mackenzie-Wicks

Soprano Elizabeth Roberts

£14 (in advance) £15 (on the door) boxoffice@eastbourne-college.co.uk 01323 452255 Reid and Dean, 43–45 Cornfield Road, Eastbourne BN21 4QG

Sunday 14 June 2015, 7pm St Saviour’s Church, South Street, Eastbourne BN21 4UT Conductor

Graham Jones

Vaughan Williams

The Wasps Overture

Elgar

Chanson de Matin and Chanson de Nuit

Leader

Lisa Wigmore

Shostakovich Piano Concerto No 2

Soloist

Gen Li

winner of the ESO Young Soloist Competition

Beethoven

£14 (in advance) £15 (on the door) concertmanager@eso.org.uk 07780 993801 12 | London Philharmonic Orchestra Reid and Dean, 43–45 Cornfield Road, Eastbourne BN21 4QG

Symphony No 7

London Philharmonic Orchestra 2014/15 Eastbourne Appeal It is with great anticipation that we welcome today’s soloist, violinist Madalyn Parnas, to the final concert of the London Philharmonic Orchestra’s 2014/15 season at Eastbourne. Musicians like Madalyn will have been significantly influenced by their first experience of a live orchestral concert, and it is for this reason that the Orchestra performs live to over 16,000 school children each year through a series of specially designed daytime concerts that link to what they are learning at school. Our 2014/15 Eastbourne Appeal aims to secure further support towards these educational activities, ensuring that young people – particularly those in under-resourced areas – have the opportunity to access their first orchestral experience. There is a subsidy of £9 on each ticket and we hope to be able to offer over 550 young people the opportunity to attend a performance as a result of this Appeal. To date, your support through this appeal has enabled us to reach 95% of that target. We are extremely grateful for the continued support of our Eastbourne audiences in reaching this point and hope you will consider making a contribution to enable us to achieve our goal. To donate please visit lpo.org.uk/eastbourneappeal or contact Helen Etheridge: 020 7840 4225 or helen.etheridge@lpo.org.uk

The Elgar Birthplace Museum Exploring the life and music of England’s great composer

LPO 2015/16 season Eastbourne Congress Theatre Autumn concerts

Set in the beautiful countryside of Worcestershire is the museum dedicated to the life and times of England’s great composer, Sir Edward Elgar. Open every day 11am - 5pm

Lower Broadheath, Worcester tel. 01905 333224 birthplace@elgarmuseum.org

1 Free Entry to the Museum with this programme when accompanied by a full paying adult

Sunday 18 October 2015 3.00pm Shostakovich Festive Overture Tchaikovsky Variations on a Rococo theme Rachmaninoff Symphony No. 2 Robert Trevino conductor | Harriet Krijgh cello Sunday 15 November 2015 3.00pm Mozart Overture, The Marriage of Figaro Prokofiev Violin Concerto No. 2 Beethoven Symphony No. 3 ‘Eroica’ Gad Kadosh conductor | Kristīne Balanas violin Tickets £13–£29 plus £1 postage per booking. Box Office 01323 412000 Book online at eastbournetheatres.co.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 Bianca & Stuart Roden 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 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 Laurence Watt 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 Dr Karen Morton Mr & Mrs Andrew Neill Tom & Phillis Sharpe Martin and Cheryl Southgate Mr Peter Tausig Simon Turner Howard & Sheelagh Watson 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: Accenture 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 Bernarr Rainbow Trust

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The Boltini Trust 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 RVW Trust Serge Rachmaninoff Foundation Romanian Cultural Institute Schroder Charity Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter 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 By May 2015 we aim to have raised £1 million which will be matched pound for pound by Arts Council England through a Catalyst Endowment grant. This will create a £2 million endowment fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre. We are grateful to the following donors for their generous contributions to our Sound Futures campaign. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Richard Buxton Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas John & Manon Antoniazzi Georgy Djaparidze Mrs Mina Goodman and Miss Suzanne Goodman Mr James R D Korner Robert Markwick & Kasia Robinski The Rothschild Foundation Haitink Patrons Dr Christopher Aldren Mark & Elizabeth Adams Mrs Pauline Baumgartner Lady Jane Berrill Mr Edwin Bisset Mr Frederick Brittenden David & Yi Yao Buckley Mr Clive Butler Gill & Garf Collins Mr John H Cook Bruno de Kegel Mr Gavin Graham

The Lady Foley Karima & David G Mr Daniel Goldstein Mr Derek B Gray Mr Roger Greenwood Mr J Douglas Home Honeymead Arts Trust Mrs Dawn Hooper Rehmet Kassim-Lakha Mr Geoffrey Kirkham Peter Leaver Wg Cdr & Mrs M T Liddiard OBE JP RAF Drs Frank & Gek Lim Peter Mace Mr David Macfarlane Geoff & Meg Mann Dr David McGibney Michael & Patricia McLaren-Turner John Montgomery Rosemary Morgan Paris Natar Mr & Mrs Andrew Neill Mr Roger H C Pattison The late Edmund Pirouet Mr Michael Posen Sarah & John Priestland Mr Christopher Queree Mr Alan Sainer Pritchard Donors Tim Slorick Ralph and Elizabeth Aldwinckle Lady Valerie Solti Michael and Linda Blackstone Timothy Walker AM Conrad Blakey OBE Laurence Watt Dr Anthony Buckland Mr R Watts Business Events Sydney Christopher Williams Lady June Chichester John Childress & Christiane Wuillamie Peter Wilson Smith Victoria Yanakova Paul Collins Mr Anthony Yolland Mr Alistair Corbett Mr David Edgecombe And all other donors who wish to David Ellen remain anonymous Mr Timothy Fancourt QC Moya Greene Mrs Dorothy Hambleton Tony and Susie Hayes Catherine Høgel & Ben Mardle Mrs Philip Kan Rose and Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Duncan Matthews QC Diana and Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation Sir Bernard Rix David Ross and Line Forestier (Canada) Carolina & Martin Schwab Tom and Phillis Sharpe Dr Brian Smith Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Lady Marina Vaizey Ms Jenny Watson Guy & Utti Whittaker

London Philharmonic Orchestra | 15

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Roger Barron Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Amanda Hill 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 William de Winton 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 David Greenslade Finance and IT Manager

Lucy Duffy Education and Community Project Manager

Public Relations Albion Media (Tel: 020 3077 4930)

Richard Mallett Education and Community Producer