London Philharmonic Orchestra concert programme 1 Nov 2014 by London Philharmonic Orchestra

Concert programme lpo.org.uk

Winner of the 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

Southbank Centre’s Royal Festival Hall Saturday 1 November 2014 | 7.30pm

Mahler Symphony No. 2 (Resurrection) (77’)

Andrés Orozco-Estrada conductor* Elizabeth Watts soprano Alice Coote mezzo soprano London Philharmonic Choir There will be no interval during this performance. * The LPO is extremely grateful to Andrés Orozco-Estrada for stepping in at short notice to replace Jaap van Zweden, who is indisposed owing to a shoulder injury.

Free pre-concert talk 6.15–6.50pm | Royal Festival Hall Two of the organ builders who helped to restore the Royal Festival Hall organ, Andrew Scott and Robert Rowley (of Harrison & Harrison Ltd), discuss the concert organ in the auditorium and illustrate their talk with examples of how organ pipes speak.

* supported by the Tsukanov Family Foundation † supported by Neil Westreich CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome LPO 2014/15 season 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Andrés Orozco-Estrada 7 Elizabeth Watts/Alice Coote 8 London Philharmonic Choir 9 Programme notes 10 Recommended recordings 11 Texts 12 Orchestra news 13 Next concerts 14 Supporters 15 Sound Futures donors 16 LPO administration The timings shown are not precise and are given only as a guide.

Welcome

Welcome to Southbank Centre 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. 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

London Philharmonic Orchestra 2014/15 season Welcome to tonight’s London Philharmonic Orchestra concert at Southbank Centre’s Royal Festival Hall. Whether you’re a regular concert-goer, new to the Orchestra or just visiting London, we hope you enjoy your evening with us. Browse the full season online at lpo.org.uk/performances or call 020 7840 4242 to request a copy of our 2014/15 brochure. Highlights of the season include: •

A year-long festival, Rachmaninoff: Inside Out, exploring the composer’s major orchestral masterpieces including all the symphonies and piano concertos, alongside some of his lesserknown works.

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Appearances by today’s most sought-after artists including Maria João Pires, Christoph Eschenbach, Osmo Vänskä, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labèque and Robin Ticciati.

•

Yannick Nézet-Séguin presents masterpieces by three great composers from the Austro-German tradition: Brahms, Schubert and Richard Strauss.

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The UK premiere of Harrison Birtwistle’s piano concerto Responses: Sweet disorder and the carefully careless, performed by Pierre-Laurent Aimard.

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Soprano Barbara Hannigan joins Vladimir Jurowski and the Orchestra for a world premiere from our new Composer in Residence Magnus Lindberg.

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Premieres too of a Violin Concerto by former Composer in Residence Julian Anderson, a children’s work, The Pied Piper of Hamelin, by Colin Matthews, and a new piece for four horns by Titanic composer James Horner.

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Choral highlights with the London Philharmonic Choir include Stravinsky’s Requiem Canticles, Verdi’s Requiem, Rachmaninoff’s Spring and The Bells, Ravel’s Daphnis et Chloé and Janáček’s Glagolitic Mass.

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.

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On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Ji-Hyun Lee Chair supported by Eric Tomsett

Catherine Craig Thomas Eisner Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Yang Zhang Grace Lee Rebecca Shorrock Helena Smart Galina Tanney Caroline Sharp Amanda Smith Robin Wilson Nilufar Alimaksumova Second Violins Charlotte Potgieter Guest Principal Kate Birchall Chair supported by David & Victoria Graham Fuller

Lorenzo Gentili-Tedeschi Fiona Higham Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Floortje Gerritsen Dean Williamson Alison Strange Stephen Stewart Kate Cole Jamie Hutchinson Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Susanne Martens Benedetto Pollani Laura Vallejo

Naomi Holt Isabel Pereira Martin Fenn Linda Kidwell Miriam Eisele Fay Sweet Cellos Steffan Morris Guest Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Tom Roff Double Basses Kevin Rundell* Principal Laurence Lovelle George Peniston Thomas Walley Kenneth Knussen Helen Rowlands Lowri Morgan Laura Murphy Flutes Katie Bedford Guest Principal Julia Crowell Diego Aceña Moreno Stewart McIlwham* Piccolo Stewart McIlwham* Principal Oboes John Anderson Guest Principal Amy McKean Rachel Harwood-White Sue Böhling Cor Anglais Sue Böhling Principal

Clarinets Robert Hill* Principal Emily Meredith Charys Green Paul Richards E flat Clarinet Thomas Watmough Principal Bass Clarinet Paul Richards Principal Bassoons Gareth Newman Principal Laura Vincent Stuart Russell Fraser Gordon Contrabassoon Fraser Gordon Horns John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller Stephen Nicholls Jason Koczur Offstage Horns Philip Eastop Laurence Davies Marcus Bates Timothy Ball Trumpets Nicholas Betts Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Tom Rainer Joe Sharp John MacDomnic Miles Maguire Charlotte Buchanan Offstage Trumpets Jason Evans Christian Barraclough

Tony Cross Toby Street Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse Bass Trombones Lyndon Meredith Principal Barry Clements Tuba Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani Antoine Bedewi Guest Principal Dominic Hackett Offstage Timpani Barnaby Archer Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Olly Yates Keith Millar Martin Owens Sarah Mason Offstage Percussion Peter Fry Fergus Brennan Barnaby Archer Harps Rachel Masters* Principal Lucy Haslar Organ Catherine Edwards * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: An anonymous donor, Sonja Drexler, Simon Robey, The Sharp Family

London Philharmonic Orchestra | 3

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

4 | London Philharmonic Orchestra

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.

Pieter Schoeman leader

Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.

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. 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.

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.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.

Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7

In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich. London Philharmonic Orchestra | 5

Andrés Orozco-Estrada LPO Principal Guest Conductor Designate

Andrés Orozco-Estrada was truly remarkable right from the very beginning. [The concert] proved him to be a master conductor with a subtle feel and musical sensitivity. © Martin Sigmund

Süddeutsche Zeitung

The LPO is extremely grateful to Andrés Orozco-Estrada for stepping in at short notice to replace Jaap van Zweden, who is indisposed owing to a shoulder injury. Andrés Orozco-Estrada will become the London Philharmonic Orchestra’s new Principal Guest Conductor from September 2015. He first worked with the Orchestra in November 2013, conducting a major tour of Germany. His impressive energy and musicianship, and the immediate rapport that formed between him and the players combined with such success that it led quickly to the announcement in spring 204. Born in Colombia and trained in Vienna, Andrés OrozcoEstrada is one of the most sought-after conductors of his generation. This season he also takes up the positions of Music Director of the Houston Symphony Orchestra and Chief Conductor of the Frankfurt Radio Symphony Orchestra. Orozco-Estrada first came to international attention in 2004, when he took over a concert with the Tonkünstler Orchestra Niederösterreich at the Vienna Musikverein. Numerous engagements with many international orchestras followed and since then Orozco-Estrada has developed a highly successful musical partnership with the Tonkünstler Orchestra, one of the most important institutions of traditional Austrian musical culture. Since the beginning of the 2009/10 season he has been Music Director of the Tonkünstler Orchestra, a position that he will relinquish in the summer of 2015. Between 2009 and 2013 Orozco-Estrada was also Principal Conductor at the Basque National Orchestra. Orozco-Estrada has worked with some of the world’s leading orchestras including the Vienna Philharmonic,

6 | London Philharmonic Orchestra

Munich Philharmonic, Leipzig Gewandhaus, City of Birmingham Symphony Orchestra, the Santa Cecilia Orchestra in Rome and the Orchestre National de France. Following his debut with the Vienna Philharmonic Orchestra in autumn 2010, Orozco-Estrada was hailed ‘a brilliant stand-in’ (Wiener Zeitung) for Esa-Pekka Salonen and celebrated as an ‘eminent talent’ (Die Presse). In November 2012, Orozco-Estrada stepped in once again at short notice to replace Riccardo Muti with the Vienna Philharmonic in the Musikverein and proved to be a ‘stand-in worth his weight in gold’ (Kurier). During the 2013/14 season he made debuts with the Royal Stockholm Philharmonic and St Louis Symphony Orchestras and also made his conducting debut at the Glyndebourne Festival Opera with the London Philharmonic Orchestra in Don Giovanni. Highlights of the 2014/15 season include his return to the Orchestra National de France, the Santa Cecilia Orchestra, Rome and the Vienna Philharmonic. He will also make important debuts with the Pittsburgh Symphony, Philadelphia, Cleveland, Royal Concertgebouw and Oslo Philharmonic orchestras. Born in 1977 in Medellín (Colombia), Andrés OrozcoEstrada began his musical studies on the violin and had his first conducting lessons at the age of 15. In 1997, he moved to Vienna where he studied at the renowned Vienna Music Academy and completed his degree with distinction by conducting the Vienna Radio Symphony Orchestra at the Vienna Musikverein. The emphasis of his artistic work lies in the Romantic repertoire and Viennese classics. At the same time, Orozco-Estrada shows a keen interest in contemporary music and regularly performs premieres of Austrian composers as well as compositions of Spanish and South American origin. Orozco-Estrada currently lives in Vienna.

Alice Coote

soprano

mezzo soprano

Elizabeth Watts won the Rosenblatt Recital Song Prize at the BBC Cardiff Singer of the World competition in 2007 and the previous year the Kathleen Ferrier Award. A former BBC Radio 3 New Generation Artist, she was the recipient of a 2011 Borletti-Buitoni Trust Award. Opera roles include Zerlina in Don Giovanni for the Royal Opera House, Covent Garden and Pamina in The Magic Flute for Welsh National Opera. Concerts include Mahler’s Symphony No. 4 and Strauss Lieder with the Netherlands Philharmonic Orchestra; Mahler 4 and Vaughan Williams’s A Sea Symphony with the BBC Scottish Symphony Orchestra; Handel with the Bachakademie Stuttgart and Hans-Christoph Rademan and with the RIAS Kammerchor Berlin and Ottavio Dantone; Mozart’s Mass in C minor in Italy with the Akademie für Alte Musik and Daniel Reuss and with the Scottish Chamber Orchestra and Olari Elts; Mozart’s Requiem with the Bournemouth Symphony Orchestra and the Orquesta Sinfonica di Barcelona; Bach’s St Matthew Passion at the Three Choirs Festival and in concert and recording with the Academy of Ancient Music and Richard Egarr; and performances of Handel’s L’Allegro, il Penseroso ed il Moderato with the Mark Morris Dance Group at Teatro Real, Madrid. Her critically acclaimed debut recording of Schubert Lieder for SONY Red Seal was followed by an equally acclaimed disc of Bach Cantatas for Harmonia Mundi and, most recently, a Hyperion recording of the songs of Richard Strauss with Roger Vignoles. Recitals include returns to the Bath Mozartfest, Concertgebouw Amsterdam and a number of appearances at London’s Wigmore Hall, with pianists Simon Lepper and Roger Vignoles. elizabethwattssoprano.com twitter.com/LizWattsSoprano

Elizabeth Watts

Renowned on the major recital, concert and opera stages of the world, Alice Coote is regarded as one of the great artists of today. She has collaborated with orchestras and conductors including the London Symphony Orchestra, the Hallé, the New York Philharmonic, the Orchestra of the Age of Enlightenment and the Royal Concertgebouw Orchestra under Vladimir Jurowski, Valery Gergiev, Christoph von Dohnányi, Jiří Bělohlávek and Pierre Boulez. Her operatic roles include Dejanira (Handel’s Hercules), Poppea, Carmen, Charlotte (Massenet’s Werther), Lucretia, Marguerite (Berlioz’s La damnation de Faust), Penelope (Monteverdi’s Il ritorno d’Ulisse in patria), Octavian (Strauss’s Der Rosenkavalier), Composer (Strauss’s Ariadne auf Naxos), Orfeo, Idamante (Mozart’s Idomeneo), Nerone (Monteverdi’s L’incoronazione di Poppea), Maffio Orsini (Donizetti’s Lucrezia Borgia), Hansel, Prince Charming (Massenet’s Cendrillon), Sesto (Handel’s Giulio Cesare), Sesto (Mozart’s La clemenza di Tito), Ruggiero (Handel’s Alcina) and Ariodante. These she has performed at the Royal Opera House, Covent Garden; the Paris Opera; the Salzburg Festival; Chicago Lyric Opera; the Metropolitan Opera, New York; and in Amsterdam, Los Angeles and San Francisco. Alice’s discography includes a critically acclaimed Wigmore Live recording of Schubert’s Winterreise; an album of English songs (Hyperion); and Mahler’s Das Lied von der Erde with the Netherlands Philharmonic Orchestra (Pentatone). Her most recent disc is Handel Arias with The English Concert and Harry Bicket (Hyperion). Highlights of this season include Der Rosenkavalier at the Vienna Staatsoper; Ruggiero in Alcina with The English Concert in London, Madrid, Vienna, Paris and at New York’s Carnegie Hall; a European tour of Hercules with The English Concert; and recitals in San Francisco and at Wigmore Hall, where Alice will premiere a new work composed for her by Judith Weir.

London Philharmonic Orchestra | 7

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 over 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 in 2013, 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. The Choir looks forward to a full 2014/15 season with the London Philharmonic Orchestra including performances of Stravinsky’s Requiem Canticles, Verdi’s Requiem, Rachmaninoff’s The Bells and Janáček’s Glagolitic Mass.

Sopranos Catherine Allum, Annette Argent, Hannah Boyce, Anisoara Brinzei, Gemma Chance, Paula Chessell, Alana Clark, Emily Clarke, Harriet Crawford, Sarah Deane-Cutler, Victoria Denard, Lucy Doig, Philippa Drinkwater, Rachel Gibbon, Jane Goddard, Emma Hancox, Jane Hanson, Sally Harrison, Carolyn Hayman, Alicia Johnson, Georgina Kaim, Mai Kikkawa, Jenni Kilvert, Judith Kistner, Suzannah Lipmann, Clare Lovett, Janey Maxwell, Meg McClure Tynan, Adi McCrea, Mariana Nina, Carmel Oliver, Angelina Panozzo, Linda Park, Lydia Pearson, Marie Power, Kathryn Quinton, Danielle Reece-Greenhalgh, Rebecca Schendel, Victoria Smith, Tania Stanier, Cathy Stockall, Susan Thomas, Jenny Torniainen, Rachael Ward, Julia Warner, Susan Watts, Charlotte Wielgut Altos Deirdre Ashton, Phye Bell, Sally Brien, Andrei Caracoti, Isabelle Cheetham, Noel Chow, Sheila Cox, Elisa Dunbar, Andrea Easey, Carmel Edmonds, Regina Frank, Kathryn Gilfoy, Henrietta Hammonds, Charlotte Kingston, Andrea Lane, Belinda Liao, Lisa MacDonald, Michelle Marple, Sophie Morrison, Rachel Murray, Angela Pascoe, Sheila Rowland, Carolyn Saunders, 8 | London Philharmonic Orchestra

The Choir appears regularly at the BBC Proms at the Royal Albert Hall, where 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 2012 performed Elgar’s The Apostles with Sir Mark Elder and Howells’s Hymnus Paradisi under Martyn Brabbins. This 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 performed 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 London Philharmonic 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

Muriel Swijghuisen Reigersberg, Mayuko Tanno, Erica Tomlinson, Catherine Travers, Susi Underwood, Jenny Watson Tenors Geir Andreassen, Scott Addison, Nicholas Arratoon, Chris Beynon, Thomas Cameron, Lorne Cuthbert, Fred Fisher, Colin Fleming, Robert Geary, Iain Handyside, Stephen Hodges, Patrick Hughes, Tony Masters, Philip Padfield, Luke Phillips, Travis Winstanley, Tony Wren, Martin Yates Basses John Bandy, Peter Blamire, Gordon Buky-Webster, Geoff Clare, Bill Cumber, Phillip Dangerfield, Marcus Daniels, Leander Diener, Paul Fincham, Ian Frost, Christopher Gadd, Paul Gittens, Nigel Grieve, Christopher Harvey, Nicholas Hennell-Foley, Mark Hillier, Stephen Hines, David Hodgson, Rylan Holey, Martin Hudson, Aidan Jones, Steve Kirby, John Luff, Anthony McDonald, John D Morris, John G Morris, Will Parsons, Johan Pieters, Dominic Raeside, David Regan, Fraser Riddell, Jonathan Riley, John Salmon, Chris Short, Ed Smith, Daniel Snowman, Peter Sollich, Tom Stevenson, Peter Taylor, Alex Thomas, James Torniainen, Matthew Ward, Jim Wilson, Hin-Yan Wong, John Wood

Programme notes

Gustav Mahler

Symphony No. 2 (Resurrection)

1860–1911

1 Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck. 2 Andante moderato. Sehr gemächlich. Nie eilen. 3 Scherzo. In ruhig fliessender Bewegung. 4 ‘Urlicht’. Sehr feierlich, aber schlicht. 5 Finale. Im Tempo des Scherzo. Wild herausfahrend

The texts begin on page 11.

Wunderhorn (‘The Youth’s Magic Horn’), the folk poetry collection from which he had already made a number of songs and which he was to use again in his Third and Fourth Symphonies. Beethoven in his Ninth Symphony had created the precedent for using voices to particularise a symphony’s message. In adding a movement to the normal four, Mahler was following the Symphonie fantastique of Berlioz. That work also offered a precedent for grotesque passages and for using popular dance and march rhythms. He carried Berlioz’s innovations to new lengths, however, for he believed that a symphony should embrace the whole world.

Mahler was Jewish by birth, but he was not reared in a religious faith and he struggled to achieve one. He knew much personal suffering and was acutely conscious of the often trivial character of earthly life. Yet he feared death, for the serene assurance of a convinced Christian was beyond his grasp, and his spiritual conflicts emerged in much of the music he composed. Asked to describe the programme behind this Symphony, he replied: ‘My need to express myself musically begins at the point where the dark feelings hold sway, at the door which leads into the “other world” – the world in which things are no longer separated by space and time’. The Second Symphony was composed between 1887 and 1894. Mahler completed the first version of the first movement in 1888, named it Totenfeier (‘Funeral Rites’) and later said that in it he was bearing the hero of his First Symphony to the grave. His career as a conductor delayed further work on the Symphony, and in 1891 he was appointed First Conductor at the Hamburg Opera. When Mahler played a piano reduction of Totenfeier to Hans von Bülow, who directed that city’s concerts, the veteran conductor was mystified and scornful. Mahler was badly shaken. Ironically, it was at von Bülow’s funeral three years later that he heard a setting of Friedrich Klopstock’s Resurrection Ode and recognised the verses as what he needed for the choral finale of his Symphony. As a link between scherzo and finale, Mahler inserted another vocal movement, taking for text the poem ‘Urlicht’ (‘Primordial Light’) from Des Knaben

Elizabeth Watts soprano Alice Coote mezzo soprano London Philharmonic Choir

To convey the ideas that demanded expression in the Second Symphony entailed a timescale of around 80 minutes and an outsize orchestra, including extra woodwind, brass and percussion and, in the finale, an organ and off-stage band, together with soprano and mezzo soprano soloists and a large choir. But as with Berlioz before him Mahler’s use of these large forces is often remarkably restrained. The three purely orchestral movements were first performed on 4 March 1895 in Berlin, and the complete Symphony was heard there on 13 December. Shortly afterwards Mahler reluctantly set down a ‘superficial indication’ of what he had in mind in composing the Symphony, and five years later for a Dresden performance he amplified his remarks. Quotations from them in the following notes are from the English edition of Alma Mahler’s book, Gustav Mahler: Memories and Letters (John Murray). According to the composer, then, the first movement

London Philharmonic Orchestra | 9

Programme notes continued

asks: ‘What is life and what is death? Have we any continuing existence? Is it all an empty dream, or has this life of ours and our death a meaning?’ If we are to go on living, he adds, we must answer these questions. Now obviously music cannot really ask questions, and Mahler knew it. But distrustful though he was of trying to explain his music, he gave helpful clues. This movement is a big C minor sonata structure with conflicting elements, and even without Mahler’s guidance it would be evident that anger, hope, fear and longing are vying for expression. The music is dominated by the funeral march that grows out of the initial onslaught from cellos and double basses. This is an angry protest against death’s dominion. After a climax it yields briefly to an idyllic rising theme, which foreshadows in its opening bars the Finale’s faith theme. The march resumes, admits what sounds like a short funeral oration to the unnamed hero, and then bears the exposition to its close with a mournful passage for horns and woodwind over a quietly tramping bass. The development begins with further consideration of the idyllic second subject, followed eventually by a sorrowful theme on cor anglais and bass clarinet. After more development of the two main subjects this is heard again on trumpet and trombone and followed by another new theme, the Dies Irae (‘Day of Wrath’) from the Mass for the Dead transformed into a hopeful chorale for horns. This theme, which will figure in the finale, is permitted a short triumph in E flat, but the funeral march supervenes and its violent C minor climax seemingly extinguishes hope. A shortened recapitulation leads to a coda of resignation and finally – a C major triad for trumpets turning bitterly to C minor – despair. Mahler conceived the next three movements as intermezzi, and described the Andante moderato as ‘a blissful moment in the hero’s life and a mournful memory of youth and lost innocence’. Its principal theme in A flat is a long thread of melody in minuet rhythm. After a restless trio section in the minor key, the minuet returns with a countermelody on cellos. The trio music reappears and recalls the fierceness of the first movement, but a second reprise of the minuet restores peace. In the Scherzo ‘the world and life become a witch’s brew’, resulting in ‘disgust of existence in every form’. 10 | London Philharmonic Orchestra

The main C minor theme comes from Mahler’s ironical Wunderhorn song about St Anthony of Padua’s futile sermon to the fishes; they listened with pleasure, then swam off to behave the same as before. Here the moto perpetuo theme represents the futile ‘dance of life’ and is made more sardonic by squeals from an E flat clarinet and other woodwind. The trio section alludes to life’s trivialities by a country dance and a sentimental trumpet tune. The scherzo repeat leads to what Mahler called ‘a cry of disgust’, a piercing chord of B flat minor over C. A peaceful C major vision follows, anticipating the finale, but the scherzo music has the last word. Without a break the mezzo soprano soloist enters with ‘the morning voice of ingenuous belief’, expressing in a solemn but simple D flat setting of the folk poem the conviction that God will light our way to eternal life. Programme note © Eric Mason

Recommended recordings of tonight’s work Mahler: Symphony No. 2 (Resurrection) London Philharmonic Orchestra & Choir Klaus Tennstedt conductor LPO Label LPO-0044 London Philharmonic Orchestra & Choir Vladimir Jurowski conductor LPO Label LPO-0054

Mini film guides to this season’s works For the 2014/15 season we’ve produced a series of short films introducing the pieces we’re performing. We’ve picked highlights from throughout the season, creating bite-sized introductions to the music and its historical background. Watch Patrick Bailey introduce Mahler’s Symphony No. 2: lpo.org.uk/explore/videos.html

Mahler Symphony No. 2: Texts

4 Urlicht

Primordial Light

Mezzo soprano O Röschen rot! Der Mensch liegt in grösster Not! Der Mensch liegt in grösster Pein! Je lieber möcht’ich im Himmel sein! Da kam ich auf einen breiten Weg; da kam ein Engelein und wollt’mich abweisen. Ach nein! Ich liess mich nicht abweisen! Ich bin von Gott und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, wird leuchten mir bis in das ewig selig Leben!

O red rose! Mankind lies in greatest need! Mankind lies in greatest pain! Far rather would I be in Heaven! I came upon a broad pathway; a little angel came and wanted to turn me aside. Ah no! I would not be turned aside! I am from God and would return to God! Dear God will give me a little light, will light me to the eternal blessed life!

5 Auferstehung

Resurrection

Chorus and soprano Aufersteh’n, ja aufersteh’n wirst du, mein Staub, nach kurzer Ruh! Unsterblich Leben wird der dich rief dir geben.

Rise again, yes you will rise again, my dust, after a short rest! Immortal life He who called you will grant you.

Wieder aufzublüh’n wirst du gesät! Der Herr der Ernte geht und sammelt Garben uns ein, die starben!

To bloom again you are sown! The Lord of the Harvest goes and gathers like sheaves each of us who died!

Mezzo soprano O glaube, mein Herz, o glaube, es geht dir nichts verloren! Dein ist, was du gesehnt, dein was du geliebt, was du gestritten!

O believe, my heart, o believe, nothing is lost to you! Yours is what you longed for, yours what you loved, what you fought over!

Soprano O glaube, du warst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten!

O believe, you were not born in vain! Have not in vain lived, suffered!

Chorus and mezzo soprano Was entstanden ist das muss vergehen! Was vergangen, auferstehen! Hör’ auf zu beben! Bereite dich zu leben!

What has come into being must pass away! What passed away, rise again! Stop trembling! Prepare yourself to live! Continued overleaf London Philharmonic Orchestra | 11

Texts continued

Soprano, mezzo soprano and chorus O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen!

O pain! You that pierce all things! From you I have been wrested! O death! You all-conqueror! Now you have been conquered!

Mit Flügeln, die ich mir errungen in heissem Liebesstreben, werd’ ich entschweben zum Licht, zu dem kein Aug’ gedrungen! Sterben werd’ ich, um zu leben! Aufersteh’n, ja aufersteh’n wirst du, mein Herz, in einem Nu! Was du geschlagen zu Gott wird es dich tragen!

With wings, which I gained for myself in love’s hot strife, I shall soar away to the light, whither no eye has penetrated! I shall die so as to live! Rise again, yes you will rise again, my heart, in an instant! What you have beaten will bear you to God! English translation © Eric Mason

Orchestra news Autumn tours

New CD: Poulenc & Saint-Saëns organ works

2014/15 looks set to be one of the busiest touring seasons in the Orchestra’s history, with a record 47 overseas concerts confirmed as we went to print. The Orchestra recently returned from a hugely successful North American tour that included California, New York, Toronto and Chicago. In late November and early December, the Orchestra visits Germany for two tours, during which they will tick off Dortmund, Essen, Baden-Baden, Cologne, Stuttgart, Freiburg, Munich, Friedrichshafen, Hamburg and Hannover.

Just released on the LPO Label is a disc of Poulenc’s Organ Concerto and SaintSaëns’s ‘Organ’ Symphony, recorded live at Royal Festival Hall (LPO-0081). This sellout concert in March 2014, conducted by Yannick NézetSéguin with organist James O’Donnell, launched the refurbished Royal Festival Hall organ, complete for the first time since 2005.

The run-up to Christmas sees the Orchestra’s first visit to Iceland where, with conductor Osmo Vänskä and pianist Leif Ove Andsnes, they will give two concerts on 18 & 19 December at Harpa, a stunning new waterfront concert hall in Reykjavík. This tour is an exciting venture for the Orchestra, particularly as we will be the first British orchestra to perform at the venue. Don’t forget you can follow all our tour adventures on Twitter: @lporchestra

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The CD booklet includes full organ specification and an article on the history and refurbishment of the organ by its curator, Dr William McVicker. The CD is priced £9.99, including free postage. Buy from lpo.org.uk/recordings, the London Philharmonic Orchestra Box Office (020 7840 4242), all good CD outlets, and the Royal Festival Hall shop. Also available to download or stream online via iTunes, Spotify and others.

Next LPO concerts at Royal Festival Hall

Wednesday 5 November 2014 | 7.30pm Sibelius The Bard Sibelius Violin Concerto Sibelius Lemminkäinen Suite (Four Legends of the Kalevala) Osmo Vänskä conductor Alexandra Soumm violin Free pre-concert event 6.00–6.45pm | Royal Festival Hall Musicians from the LPO join students from London Music Masters’ innovative music education programme, the Bridge Project, for a musical celebration.

Friday 7 November 2014 | 7.30pm JTI Friday Series Rachmaninoff: Inside Out* Vaughan Williams Fantasia on a Theme by Thomas Tallis Rachmaninoff Piano Concerto No. 4 (final version) Tchaikovsky Symphony No. 1 (Winter Daydreams) Osmo Vänskä conductor Nikolai Lugansky piano

Wednesday 12 November 2014 | 7.30pm Pierné Overture and Suite, Ramuntcho† Poulenc Concerto for two pianos and orchestra Ravel Rapsodie espagnole Debussy La mer

Friday 28 November 2014 | 7.30pm JTI Friday Series Rachmaninoff: Inside Out* Wagner Overture, Tannhäuser Rachmaninoff Rhapsody on a Theme of Paganini Tchaikovsky Symphony No. 4 David Zinman conductor Behzod Abduraimov piano Free pre-concert event | 6.15–6.45pm Royal Festival Hall Acclaimed film director Tony Palmer discusses the enduring popularity of Rachmaninoff’s music.

Wednesday 3 December 2014 | 7.30pm Rachmaninoff: Inside Out* Szymanowski Concert Overture† Scriabin Piano Concerto Rachmaninoff Symphony No. 1 Vladimir Jurowski conductor Igor Levit piano Free pre-concert event 6.15–6.45pm | Royal Festival Hall Professor Stephen Downes, a specialist in 20th-century music, looks at the influence of Scriabin. † Supported by the Polish Cultural Institute in London. * Rachmaninoff: Inside Out is presented in co-operation with the Serge Rachmaninoff Foundation.

Juanjo Mena conductor Katia Labèque piano Marielle Labèque piano † Supported by Palazzetto Bru Zane – Centre de musique romantique française.

Wednesday 19 November 2014 | 7.30pm Brahms Piano Concerto No. 2 Schubert Symphony No. 8 (Unfinished) R Strauss Don Juan Yannick Nézet-Séguin conductor Lars Vogt piano

Tickets £9–£39 (premium seats £65) London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone

Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk Transaction fees: £1.75 online, £2.75 telephone. No transaction fee for bookings made in person

London Philharmonic Orchestra | 13

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 The Sharp Family 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 Jane Attias 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 Commander Vincent Evans Mr Daniel Goldstein 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 Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Dr Frank Lim Paul & Brigitta Lock 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 Bank British American Business Carter-Ruck Bronze: Appleyard & Trew LLP Charles Russell Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets

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Trusts and Foundations Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust 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 Kirby Laing Foundation The Leche Trust 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 Palazzetto Bru Zane – Centre de musique romantique française Polish Cultural Institute in London PRS for Music Foundation Rivers Foundation The R K Charitable Trust Serge Rachmaninoff Foundation 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 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, as well as many who have chosen to remain anonymous, 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 Emmanuel & Barrie Roman The Sharp Family The Underwood Trust

David Ross and Line Forestier (Canada) Tom and Phillis Sharpe Mr & Mrs G Stein TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker

Welser-Möst Circle John Ireland Charitable Trust Neil Westreich

Pritchard Donors Anonymous Linda Blackstone Michael Blackstone Yan Bonduelle Richard and Jo Brass Britten-Pears Foundation Business Events Sydney Desmond & Ruth Cecil Lady June Chichester John Childress & Christiane Wuillamie Lindka Cierach Paul Collins Mr Alistair Corbett Dolly Costopoulos Mark Damazer Olivier Demarthe David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Commander Vincent Evans Mr Timothy Fancourt QC Christopher Fraser OBE Karima & David G Lyuba Galkina David Goldberg Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust

Tennstedt Circle Simon Robey Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas Anonymous John & Manon Antoniazzi Georgy Djaparidze Mrs Mina Goodman and Miss Suzanne Goodman Robert Markwick The Rothschild Foundation Haitink Patrons Mark & Elizabeth Adams Lady Jane Berrill David & Yi Yao Buckley Bruno de Kegel Goldman Sachs International Moya Greene Tony and Susie Hayes Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Dr Karen Morton Ruth Rattenbury Sir Bernard Rix Kasia Robinski

John Hunter Ivan Hurry Rehmet Kassim-Lakha Tanya Kornilova Peter Leaver Mr Mark Leishman LVO and Mrs Fiona Leishman Howard & Marilyn Levene Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Dr Frank Lim Dr Eva Lotta & Mr Thierry Sciard Peter Mace Geoff & Meg Mann Ulrike Mansel Marsh Christian Trust John Montgomery Rosemary Morgan Paris Natar John Owen The late Edmund Pirouet Mr Michael Posen Sarah & John Priestland Victoria Provis William Shawcross Tim Slorick Howard Snell Lady Valerie Solti Stanley Stecker Lady Marina Vaizey Helen Walker Timothy Walker AM Laurence Watt Des & Maggie Whitelock Brian Whittle Christopher Williams Peter Wilson Smith Victoria Yanakova Mr Anthony Yolland

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 * 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