London Philharmonic Orchestra 15 March 2015 Eastbourne concert programme 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 15 March 2015 | 3.00pm Beethoven Symphony No. 1 in C major, Op. 21 (25’) Haydn Piano Concerto in D major, Hob. XVIII.11 (19’) Interval Rossini Overture, The Barber of Seville (7’) Mozart Symphony No. 41 in C major, K551 (Jupiter) (26’)

Programme £2.50 Contents 2 3 4 5 6 7 8 12 13 14 15 16

Welcome LPO concerts at the Congress Theatre On stage About the Orchestra Leader: Vesselin Gellev Daniel Smith Maria Meerovitch Programme notes London 2015/16 season LPO Eastbourne Appeal Orchestra News Supporters Sound Futures donors LPO administration

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

Daniel Smith conductor Maria Meerovitch piano

The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for this performance is supplied and maintained by Steinway & Sons, London.

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

Welcome

Welcome to the Congress Theatre, Eastbourne 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.

More London Philharmonic Orchestra concerts to enjoy at the Congress Theatre More information available in the season brochure: pick up a copy after the concert, call 020 7840 4242 to request a copy, or browse online at lpo.org.uk/eastbourne Sunday 29 March 2015 | 3.00pm Tchaikovsky Romeo and Juliet (Fantasy Overture) Elgar Cello Concerto Rimsky-Korsakov Scheherazade Jaime Martín conductor Andreas Brantelid cello Sunday 12 April 2015 | 3.00pm Elgar Introduction and Allegro Mendelssohn Violin Concerto Beethoven Symphony No. 7 Domingo Hindoyan conductor Madalyn Parnas violin Tickets £13–£29 plus £1 postage per booking. Box Office 01323 412000 Book online at eastbournetheatres.co.uk

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On stage

First Violins Vesselin Gellev Leader Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp Yang Zhang Galina Tanney Caroline Frenkel Maeve Jenkinson Robert Yeomans Peter Nall Kate Cole Georgina Leo Katie Littlemore Second Violins Nicole Wilson Guest Principal Kate Birchall Nancy Elan Fiona Higham Joseph Maher Floortje Gerritsen Sioni Williams Harry Kerr Elizabeth Baldey John Dickinson

Violas Przemyslaw Pujanek Guest Principal Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter Sarah Malcolm Alistair Scahill Martin Fenn

Flutes Sue Thomas* Principal Chair supported by Victoria Robey OBE Hannah Grayson

Cellos Francis Bucknall Principal David Lale Elisabeth Wiklander Santiago Carvalho† Susanna Riddell Helen Rathbone

Clarinets Thomas Watmough Principal Paul Richards

Double Basses George Peniston Principal Tom Walley Ben Wolstenholme Mary Martin

Timpani Dominic Hackett Guest Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport Keith Millar

Oboes Helen Barker Guest Principal Alice Munday

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

Bassoons Michael Kaulartz Guest Principal Simon Estell

Meet our members: lpo.org.uk/players

Horns Stephen Nicholls Guest Principal Martin Hobbs Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Eric Tomsett; Sonja Drexler; Friends of the Orchestra; anonymous donor

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London Philharmonic Orchestra

The LPO’s playing throughout was exceptional in its warmth, finesse and detail. The Guardian, January 2013 The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, 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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Daniel Smith conductor

One of the most sought after and applauded young conductors in the world, Daniel Smith is already being called the new Karajan.

St Petersburg News

An emotive connection to the vast, ancient continent of Australia has underpinned and honed the musician and conductor, Daniel Smith. His path to conducting began as a six-year-old flute student, so small and determined that his teacher had to balance the end of his flute while he played. In later years, in tandem with his flute studies, Daniel composed an operatic song cycle and then decided to pursue conducting. Daniel sources the composer’s original manuscripts and sketches where possible, as a means of keeping pure the essence of the music. Using this approach, he immerses himself within the organic origins of often complex scores to ascertain his own interpretations. He studied with Neeme Järvi, Jorma Panula, Hugh Wolff, Peter Gülke and Gianluigi Gelmetti, and graduated with a Master of Music degree from the Sydney Conservatorium of Music. He also has fellowships from London’s Trinity Laban Conservatoire of Music and Dance, the American Academy of Conducting in Aspen and the Universität Mozarteum, Salzburg. Daniel rapidly gained international acclaim after winning First Prize, the Golden Baton and the Orchestra’s Choice Prize in UNESCO’S Fitelberg International Conducting Competition, as well as Second Prize in the prestigious Sir Georg Solti International Conducting Competition. His third success within the same year was First Prize in the Luigi Mancinelli International Opera Conducting Competition along with the Orchestra’s Choice Prize in the Lutosławski International Conducting Competition.

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An invitation to be the first Australian to conduct the Mariinsky Orchestra soon followed, along with debuts with the Frankfurt Radio Symphony, Warsaw Philharmonic, Indianapolis Symphony, RAI National Symphony (Italy) and the RTÉ National Symphony (Ireland). The core of Daniel’s ethos is to take you on a journey of discovery where, as the final note diminishes, you will find yourself emerging a slightly different person.

danielsmithonline.com facebook.com/danielsmithonline

Maria Meerovitch piano

Not just a pianist, but a profound musician.

Sergei Nakariakov, trumpeter

Maria Meerovitch was born in St Petersburg to a non-musical family. Nevertheless, music has been an important part of her family’s life and at the age of six Maria began her musical education. When she was eight she performed at St Petersburg Philharmonic Hall for the first time and was praised by pianist Grigory Sokolov, one of the greatest musicians of our time. She studied later at the Rimsky-Korsakov St Petersburg State Conservatory with piano as principal subject. In 1990, Maria moved to Belgium, having received a scholarship from ‘Fonds Alex de Vries’, Yehudi Menuhin Foundation, and graduated from the Royal Conservatory of Antwerp (cum laude) where she immediately began teaching piano and chamber music. She subsequently won first prize at several international competitions and has been performing around the world ever since, appearing in solo and chamber music recitals in the USA, Japan, Taiwan, Brazil, South Africa, South Korea, Israel and Europe. Highlights include performances at the Concertgebouw (Amsterdam) and the SchleswigHolstein Music Festival amongst many others. She has made a number of recordings with a variety of international chamber music partners including Vadim Repin and Elisabeth Watts, as well as with her close duo partner Sergei Nakariakov, with whom she appeared in an ARTE production Ich war nie ein Wunderkind in 2005. Maria’s latest Warner Classics CD, Widmung (‘Dedication’), was recorded with trumpeter Sergei Nakariakov.

2011, and to perform as a soloist with the ECO, with Maxim Vengerov conducting in the following season’s festival. Maria’s chamber music repertoire covers most of the piano/strings repertoire, and her performances at Festival International d’Art Lyrique (Aix-en-Provence) with ECO soloists received wide public acclaim. In 2012 she was one of the few artists to participate in Ivry Gitlis’s Anniversary Celebration in Salle Pleyel alongside Martha Argerich and Maxim Vengerov. Maria has appeared as a soloist with numerous orchestras around the globe including SchleswigHolstein Festival Orchestra, the English Chamber Orchestra and Mannheimer Philharmoniker. Future highlights this season include solo appearances with the Thailand Philharmonic and Mannheimer Philharmonic orchestras. In recent years her passion for teaching young musicians has brought Maria to the USA, Germany, South Africa and Belgium where she has given several masterclasses and has been working on a study involving the treatment of tendonitis due to playing the piano, building on the work of her legendary teacher MR Freindling.

apollonartists.com/index.php/maria-meerovitch facebook.com/meerovitch.maria

Her performance at The English Chamber Orchestra Music Cruise 2010 led to an an immediate re-invitation to play with Pinchas Zukerman and Barbara Bonney in

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Programme notes

Speedread The three great, interlinking figures of Viennese Classicism form the backbone of today’s concert. Mozart had not yet moved to the Imperial capital when Haydn composed his most famous (and in places most Mozartian) keyboard concerto, but by the time of his last and most admired symphony, written three years before his death, he had met and befriended the older composer, thoroughly absorbed his powerful influence, and forged ahead as a symphonist. With models such as these, it is

Ludwig van Beethoven 1770–1827

Beethoven did not hurry to send his First Symphony into the world. When it was premiered in Vienna on 2 April 1800 he was approaching 30, and had already made a name for himself as a stirring virtuoso pianist (he had been performing his first two piano concertos for several years), and as a composer of muscular chamber works and piano works, some of which were strikingly forceful and modern. In fact, the symphony was not the only form with which he was slow to engage: his first string quartets were not published until 1801, and it is surely no coincidence that the string quartet and the symphony were precisely the genres at that time associated above all with Joseph Haydn. Beethoven’s relationship with Haydn – with whom he had studied in the early 1790s – was an uneasy one, but there is little reason to doubt that the idea of moving in on the vastly respected older composer’s patch was a daunting one, even for Beethoven. When he did enter the symphonic arena, it was with what seems a surprisingly cautious work, at least to

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understandable that the young Beethoven was hesitant about throwing his hat into the symphonic ring, but his own first example, when it came, bore his own unmistakable stylistic stamp. Italian to the core, Rossini enjoyed his own Viennese triumphs in 1822, when a season of his operas there swept all before them. The response of Beethoven, when he met him, has gone down in history: ‘be sure to write more Barbers!’

Symphony No. 1 in C major, Op. 21 1 2 3 4

Adagio molto – Allegro con brio Andante cantabile con moto Menuetto & Trio: Allegro molto e vivace Adagio – Allegro molto e vivace

ears familiar with the other eight symphonies. For sure, the model is the Haydn of the ‘London’ symphonies, in its layout of four movements with slow introduction, in its orchestration, and in many of its compositional processes, not least the way that fragments of themes can be used motivically, sometimes to accompany, sometimes to provide a driving force; there are even echoes of Haydn’s C major Symphony No. 97 in the main theme of the first movement, and in the perkily demure nature of its counterpart in the second. Yet to listeners at the time, there were plenty of things to make them sit up and take notice, though not always favourably: ‘a caricature of Haydn pushed to absurdity’ was how one critic described the new symphony, no doubt disconcerted by the fact that the slow introduction meanders its way towards the main body of the first movement via some surprising discords, or that the third movement seems to get by without much in the way of a tune, or for that matter much feel of being a minuet. Perhaps, too, the sheer ebullience of

the music was hard to bear, for there is no mistaking its Beethovenian energy and dash. Whether they actually liked it or not, its first audiences cannot have failed to be aware that there was something new in the air.

timid upward scales eventually discover that they are part of the movement’s cheerful main theme. Here the context is comic, but it was an innovation to which Beethoven would return with more serious intent.

Only hindsight, however, can alert us to the prophetic nature of the slow introduction to the finale, in which

Joseph Haydn 1732–1809

For all their manifest charms, Haydn’s concertos do not occupy the same crucial position in his output as his symphonies and string quartets. Perhaps the burden of the genre’s status as the most popular orchestral form of the previous 50 years proved rather hard to shake off, but whatever the reason, Haydn’s output of concertos – most of which dates from the 1750s and 60s – is small and relatively conservative, seemingly content with adopting for the most part the received and trusted formal procedures of the Baroque. But while it was Mozart who in his masterly series of piano concertos of the mid-1780s remodelled the solo concerto into a convincing representative of musical High Classicism, the best of Haydn’s concertos nevertheless bear eloquent testimony to his compositional skill and workmanship, stand favourable comparison with those of the other leading figures of his time, and in some cases reach a level of inspiration that few contemporaries could match. Such can certainly be said of the D major Concerto composed around 1780 and designated as being for ‘Clavicembalo ó Fortepiano’ (harpsichord or piano), although the nature of the writing suggests that

Piano Concerto in D major, Hob. XVIII.11 Maria Meerovitch piano 1 Vivace 2 Un poco adagio 3 Rondo all’ungarese: Allegro assai

the recently developed piano was the instrument he really had in mind. Compared to the 20-or-so keyboard concertos of his earlier years, this sounds a more worthy product of the figure who had by then risen to become Europe’s most admired composer. With its strong personality and dashing finale, it was also Haydn’s most popular concerto in his lifetime, during which it was published at least eight times in five different countries. The first movement is sprightly, fresh, and formally as deftly managed as one would expect from a master of Haydn’s skill, yet there are also moments with a distinctly Mozartian expressive flavour, apparently invoked at a time before Haydn could have encountered them from his younger colleague’s hand. A similar atmosphere pervades the central slow movement, whose touching and fluid lyricism also reminds us that Haydn had spent much of the previous decade writing for the opera house. The finale, however, is more clearly Haydnesque, a boisterous and folksy rondo in the style described by the catch-all term of ‘Hungarian’, but actually with elements derived from a Croatian dance-tune known as ‘Siri kolo’.

Interval – 20 minutes A bell will be rung a few minutes before the end of the interval. London Philharmonic Orchestra | 9

Programme notes continued

Gioachino Rossini

Overture, The Barber of Seville

1792–1868

It may seem surprising today given the work’s popularity, but Rossini’s decision to compose an operatic setting of Beaumarchais’s comic play Le barbier de Séville at the age of only 23, was a brave one. Giovanni Paisiello’s Il barbiere di Siviglia of 1782 enjoyed both public affection and high reputation, and Rossini found himself frequently having to defend himself from the vociferous complaints of the older composer and his supporters. He even took the precaution of giving his opera a different title for its premiere at Rome’s Teatro Argentina in February 1816, Almaviva becoming Il barbiere di Siviglia only after Paisiello’s death four months later.

That premiere – a far from happy occasion beset by technical accidents and an unfriendly claque – did not, as it happened, include the music we hear tonight. History is not clear on exactly which overture was performed (Rossini’s habit was to write his overtures last, and he sometimes missed his deadline), but it was certainly early in its career that the opera was coupled with an overture Rossini had already used for Aureliano in Palmira (1813) and Elisabetta, regina d’Inghilterra (1815). Despite the fact that both of those were ‘serious’ operas, the overture has long been associated most firmly with The Barber – a purpose for which it seems more than usually suited.

Today’s composers on the LPO label BEETHOVEN Symphony No.9 in D Minor ‘Choral’ KLAUS TENNSTEDT conductor LUCIA POPP soprano ANN MURRAY mezzo-soprano ANTHONY ROLFE JOHNSON tenor RENÉ PAPE bass LONDON PHILHARMONIC orchestra and CHOIR

Beethoven Symphony No. 9 LPO-0026 | £9.99

Haydn The Creation LPO-0008 | 2-CD set £14.99

Klaus Tennstedt conductor with Lucia Popp, Ann Murray, Anthony Rolfe Johnson, René Pape and London Philharmonic Choir

Klaus Tennstedt conductor with Lucia Popp, Anthony Rolfe Johnson, Benjamin Luxon and London Philharmonic Choir

Beecham – The Formative Years LPO-0040 | £9.99 Sir Thomas Beecham conductor includes Mozart Symphonies Nos. 39 (excerpts) and 41

Available from lpo.org.uk/recordings (where you can listen to soundclips before you buy), the LPO Ticket Office (020 7840 4242) and all good CD retailers.

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Wolfgang Amadeus Mozart 1756–91

‘Haydn, in one of his newest and finest symphonies in C major [No. 95], had a fugue as a final movement; Mozart did this too in his tremendous Symphony in C major, in which, as we all know, he pushed things a little far.’ This assessment of the ‘Jupiter’ Symphony, put forward in 1798, seven years after Mozart’s death, is not at all untypical of its time. Its author was Carl Friedrich Zelter, a respected composer who, like many musicians, could acknowledge Mozart’s supreme ability while at the same time considering his music unnecessarily complicated and abundant in melodic material. Whether or not he was justified in assuming universal familiarity with the deluge of themes contained in the ‘Jupiter’ is not clear, as there are no records of any performances of the work during Mozart’s lifetime, nor of the two other symphonies (Nos. 39 and 40) that make up the great final trilogy composed during the summer of 1788. That it should have attracted the (admittedly qualified) admiration of musically knowledgeable listeners while making relatively little public impression is symptomatic of Mozart’s predicament in his final years. Although the symphony is traditional enough in many of its points of departure, there is enough that is radical about it to explain Zelter’s mixed response. C major was a key usually associated with music for public ceremony, and the first movement’s stately opening suggests that this will be the prevailing mood here. But Mozart’s art had by now become a much more all-embracing one than that; as in his greatest operas, he is able here to inhabit more than one world at once, and so it is with surprising naturalness that there eventually appears a jaunty little tune (characterised by repeated notes) borrowed from an aria he had composed for a comic opera.

Symphony No. 41 in C major, K551 (Jupiter) 1 2 3 4

Allegro vivace Andante cantabile Minuet & Trio: Allegretto Molto Allegro

The Andante cantabile is eloquent and gracefully melodic, yet interrupted by passionate outbursts and haunted by troubling woodwind colours; while the Minuet and Trio have the courtliness and poise one would expect of them, even though the former is dominated by a drooping chromatic line that culminates in a delicious woodwind passage towards the end. The most remarkable music of this great symphony is reserved, however, for the last movement. A vital and superbly organic combination of sonata form and fugal procedures in which melodic ideas fly at us in an exhilarating flood of music, it eventually finds its way to a coda in which five of those ideas are thrown together in a passage of astounding contrapuntal bravado. One can well imagine that this was where Zelter drew the line – if not, what else for him but to break his pen and take up some other profession? For many years this symphony was known in Germanspeaking countries, somewhat analytically, as ‘the symphony with the fugal finale’. The nickname ‘Jupiter’ seems to have originated in England around 1820, and how much more expressive it seems of this work’s lofty ambitions! For it is not simply the summation of its composer’s symphonic art; it is the greatest of prophecies of the genre’s unlimited potential. Programme notes © Lindsay Kemp

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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 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 3 February Dvorˇák Overture, Otello 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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London Philharmonic Orchestra 2014/15 Eastbourne Appeal With three concerts remaining of the London Philharmonic Orchestra’s 2014/15 season at Eastbourne, it is with great anticipation that we welcome pianist Maria Meerovitch (today’s soloist), cellist Andreas Brantelid and violinist Madalyn Parnas. Musicians like these 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 90% 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

Orchestra news

Recent LPO CD release: Vaughan Williams Symphonies Nos. 4 & 8 Released on the LPO Label is a pair of Vaughan Williams Symphonies: Nos. 4 & 8, (LPO-0082) conducted by Ryan Wigglesworth and Vladimir Jurowski respectively. They were recorded live in concert at the Royal Festival Hall on 24 September 2008 (Symphony No. 8) and 1 May 2013 (Symphony No. 4). Priced £9.99, the CD is available from lpo.org.uk/recordings (where you can listen to soundclips before you buy), the LPO Ticket Office (020 7840 4242) and all good CD retailers.

LPO at Glyndebourne recording up for award We are delighted to hear that the 2011 Glyndebourne CD recording of Die Meistersinger von Nürnberg with the London Philharmonic Orchestra conducted by Principal Conductor and Artistic Advisor Vladimir Jurowski has been shortlisted in the category of Best Opera for the BBC Music Magazine Awards 2015. The winner will be announced on 7 April. classical-music.com/awards Welcome to Alice! We are pleased to welcome into the LPO fold our new sub-principal oboist, Alice Munday. She has hit the road running, figuratively and literally, as she started with the season in full pelt and likes to run in her spare time. Alice chose the oboe as she thought it might be more sociable than the piano, without taking into consideration the early stages of learning that particular instrument (think ducks). She studied at the Royal Academy of Music and has made her way to the LPO via the sunny climes of Malta where she was sub-principal oboe/principal cor anglais of the National Orchestra of Malta, and the BBC Philharmonic.

Alternatively you can download it from iTunes, Amazon and others, or stream via Spotify.

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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 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 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 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

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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 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 William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Richard Buxton 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 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 Frederick Brittenden David & Yi Yao Buckley Gill & Garf Collins Mr John H Cook Bruno de Kegel Mr Gavin Graham

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 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

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 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 Roger H C Pattison The late Edmund Pirouet Mr Michael Posen Sarah & John Priestland Mr Christopher Queree Mr Alan Sainer Tim Slorick Lady Valerie Solti Timothy Walker AM Laurence Watt Mr R Watts Christopher Williams Peter Wilson Smith Victoria Yanakova Mr Anthony Yolland

Pritchard Donors Ralph and Elizabeth Aldwinckle Michael and Linda Blackstone Conrad Blakey OBE Dr Anthony Buckland Business Events Sydney Lady June Chichester John Childress & Christiane Wuillamie And all other donors who wish to Paul Collins remain anonymous Mr Alistair Corbett Mr David Edgecombe David Ellen Mr Timothy Fancourt QC

London Philharmonic Orchestra | 15

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

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