LPO Programme notes 21 april by London Philharmonic Orchestra

Principal Conductor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader pieter schoeman Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM†

BRIGHTON DOME, CONCERT HALL Saturday 21 April 2012 | 7.30pm

YAN PASCAL TORTELIER conductor HONG XU piano

PROGRAMME £2.50 CONTENTS 2 Welcome / Leader 3 List of players 4 About the Orchestra 5 Yan Pascal Tortelier 6 Hong Xu 7 Programme notes 11 Supporters 12 LPO administration The timings shown are not precise and are given only as a guide.

MENDELSSOHN Overture, Ruy Blas, Op. 95 (7’) BEETHOVEN Piano Concerto No. 1 in C major, Op. 15 (37’) Interval TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36 (44’)

* supported by the Tsukanov Family † supported by Macquarie Group CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA WITH ASSISTANCE FROM BRIGHTON DOME

Box Office: 01273 709709 brightondome.org

brighton dome

pieter schoeman

CHIEF EXECUTIVE Andrew Comben

Leader

Welcome to Brighton Dome

Pieter Schoeman joined the London Philharmonic Orchestra as Co-Leader in 2002, and was appointed Leader in 2008.

LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks. SMOKING Brighton Dome is a no-smoking venue. INTERVAL DRINKS may be ordered in advance at the bar to avoid queues. PHOTOGRAPHY is not allowed in the auditorium. RECORDING is not allowed in the auditorium. MOBILES, PAGERS AND WATCHES should be switched off before entering the auditorium. Thank you for your co-operation.

The concert at Brighton Dome on 21 April 2012 is presented by the London Philharmonic Orchestra with assistance from Brighton Dome.

Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England. Brighton Dome is managed by Brighton Dome and Festival Ltd which also runs the annual three-week Brighton Festival in May. brightonfestival.org

We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following:

Born in South Africa, he made his solo début 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. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has performed frequently as Guest Leader with the symphony orchestras of Barcelona, Bordeaux, Lyon and Baltimore, as well as with the BBC Symphony Orchestra. Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance.

2 | London Philharmonic Orchestra

LONDON PHILHARMONIC ORCHESTRA

First Violins Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Chair supported by John & Angela Kessler

Ilyoung Chae Katalin Varnagy Tina Gruenberg Martin Höhmann Chair supported by Richard Karl Goeltz

Geoffrey Lynn Robert Pool Sarah Streatfeild Rebecca Shorrock Alain Petitclerc Galina Tanney Joanne Chen Catherine Van De Geest Second Violins Philippe Honore Guest Principal Jeongmin Kim Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Fiona Higham Ashley Stevens Marie-Anne Mairesse Nancy Elan Nynke Hijlkema Imogen Williamson Stephen Stewart Mila Mustakova

Violas Cyrille Mercier Guest Principal Robert Duncan Gregory Aronovich Katharine Leek Benedetto Pollani Laura Vallejo Susanne Martens Daniel Cornford Sarah Malcolm Anthony Byrne Cellos Richard Lester Guest Principal Francis Bucknall Laura Donoghue Gregory Walmsley Santiago Carvalho† Susanna Riddell Helen Rathbone David Bucknall Double Basses Tim Gibbs Principal Laurence Lovelle George Peniston Jeremy Watt Kenneth Knussen Helen Rowlands

Flutes Ileana Ruhemann Guest Principal Jane Spiers Piccolo Katie Bicknell Oboes Ian Hardwick Principal Angela Tennick Clarinets Nicholas Carpenter* Principal Emily Meredith Bassoons Lola Descours Guest Principal Simon Estell Horns Mark Vines Principal Martin Hobbs Tim Ball Gareth Mollison Nicolas Wolmark

Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

David Hilton Trombones David Whitehouse Principal Andrew Connington Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar Jeremy Cornes

* 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: Caroline, Jamie & Zander Sharp Julian & Gill Simmonds

London Philharmonic Orchestra | 3

LONDON PHILHARMONIC ORCHESTRA

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most adventurous and forward-looking orchestras. As well as performing classical concerts, the Orchestra also records film and computer game soundtracks, has its own record label, and reaches thousands of people every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and since then has been headed by many of the great names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Russian Vladimir Jurowski, appointed in 2007, with French-Canadian Yannick Nézet-Séguin as Principal Guest Conductor. The Orchestra is based at Royal Festival Hall in London’s Southbank Centre, where it has performed since it opened in 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. Concert highlights in 2011/12 have included a three-week festival celebrating the music of Prokofiev, concerts with artists including Sir Mark Elder, Marin Alsop, Renée Fleming, Stephen Hough and Joshua Bell, and several premières of works by living composers including the Orchestra’s Composer in Residence, Julian Anderson. In addition to its London concerts, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency accompanying the famous Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra since 1964. The London Philharmonic Orchestra 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. Touring remains a big part of the Orchestra’s life: tours in the 2011/12 season include visits to Belgium, Switzerland, Germany, the US, Spain, China, Russia, Oman, Brazil and France.

4 | London Philharmonic Orchestra

You may well have heard the London Philharmonic Orchestra on film soundtrack recordings: it has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, Philadelphia, East is East and Hugo. The Orchestra also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 60 releases on the label, which are available on CD and to download. Recent additions include Dvořák’s Symphonic Variations and Symphony No. 8 conducted by Sir Charles Mackerras; Holst’s The Planets conducted by Vladimir Jurowski; Shostakovich Piano Concertos with Martin Helmchen under Vladimir Jurowski; and Sibelius’s Symphony No. 5 and Lutosławski’s Concerto for Orchestra under Jukka-Pekka Saraste. The Orchestra was also recently honoured with the commission to record all 205 of the world’s national anthems for the London 2012 Olympics Team Welcome Ceremonies and Medal Ceremonies. To help maintain its high standards and diverse workload, the Orchestra is committed to the welfare of its musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark. The London Philharmonic Orchestra maintains an energetic programme of activities for young people and local communities. Highlights include the ever-popular family and schools concerts, fusion ensemble The Band, the Leverhulme Young Composers project and the Foyle Future Firsts orchestral training scheme for outstanding young players. Over the last few years, developments in technology and social networks have 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, news blog, iPhone app and regular podcasts, 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

yan pascal tortelier

CONDUCTOR

Yan Pascal Tortelier enjoys a distinguished career as a guest with the world’s most prestigious orchestras. He began his musical career as a violinist and at the age of 14 won first prize for violin at the Paris Conservatoire, as well as making his début as a soloist with the London Philharmonic Orchestra. Following general musical studies with Nadia Boulanger, Tortelier studied conducting with Franco Ferrara at the Accademia Chigiana in Siena, and from 1974–83 was Associate Conductor of the Orchestre National du Capitole de Toulouse. Other past positions have included Principal Conductor and Artistic Director of the Ulster Orchestra (1989–92), Principal Guest Conductor of the Pittsburgh Symphony Orchestra (2005–08), and Principal Conductor of the São Paulo Symphony Orchestra (2009–12). Following his outstanding work as Chief Conductor of the BBC Philharmonic between 1992 and 2003, including annual appearances at the BBC Proms and a very successful tour of the US to celebrate the orchestra’s 60th anniversary season, he has been awarded the title of Conductor Emeritus and continues to work with the orchestra regularly. He also holds the positions of Principal Guest Conductor at the Royal Academy of Music in London, and Honorary Guest Conductor of the São Paulo Symphony Orchestra.

European tour with the São Paulo Symphony Orchestra, visiting a number of prestigious venues including the Vienna Musikverein, Salzburg Festspielhaus, Frankfurt Alte Oper and Cologne Philharmonie. The 2011/12 season began with a major tour of China with the London Philharmonic Orchestra and pianist Hong Xu. Other highlights of this season and beyond include a tour of South America with the São Paulo Symphony Orchestra; and return visits to the Hallé, the Danish National Orchestra, the Dresden and St Petersburg Philharmonic orchestras, and the St Louis and Baltimore symphony orchestras. Tortelier has enjoyed a long association with Chandos Records, resulting in an extensive catalogue of recordings, notably with the BBC Philharmonic and the Ulster Orchestra, and including award-winning cycles of the orchestral music of Debussy, Ravel (featuring his own orchestration of Ravel’s Piano Trio), Franck, Roussel and Dutilleux. He has also conducted critically acclaimed discs of repertoire ranging from Hindemith and Kodály to Lutosławski and Karłowicz. Recent releases for Chandos include the Ravel Piano Concertos coupled with Debussy’s Fantaisie, with pianist JeanEfflam Bavouzet, and a disc of works by Florent Schmitt with the São Paulo Symphony Orchestra.

Yan Pascal Tortelier has collaborated with major orchestras including the London Philharmonic, London Symphony, Royal Concertgebouw, Czech Philharmonic, St Petersburg Philharmonic and Oslo Philharmonic orchestras; the Orchestre de Paris; the Filarmonica della Scala, Milan; and in the US, the Philadelphia Orchestra; Los Angeles Philharmonic Orchestra; and the Boston, Chicago and Montreal symphony orchestras. Further afield he has collaborated with the Melbourne Symphony, Tokyo Metropolitan Symphony, Hong Kong Philharmonic and Malaysian Philharmonic orchestras. Recent highlights have included return visits to the Minnesota Orchestra, the Royal Flemish Philharmonic and San Francisco Symphony orchestras, and a major London Philharmonic Orchestra | 5

HONG XU PIANO

Hong Xu’s career began at a very early age and he made his concerto début in China at just 16 years old, playing Rachmaninoff’s Second Piano Concerto. He studied at Wuhan Conservatory in China; the Eastman School of Music in Rochester, New York; and The Juilliard School (where he recently graduated from the much-prized Artist Diploma course), under teachers including Liping Jiang, Douglas Humpherys, Jerome Lowenthal and Robert McDonald. Competition successes include Third Prize in the Gina Bachauer International Young Artists Competition (at the age of just 17); Second Prize at the 2004 Hilton Head International Piano Competition; and the Mozart Prize at the 2005 Cleveland International Piano Competition. Xu is a Laureate of Canada’s 2006 Honens International Piano Competition. Hong Xu has given recitals at Wigmore Hall and Carnegie Hall’s Weill Recital Hall; given a ten-city recital tour in Germany; and recorded his first CD at the Banff Centre in Canada. He has appeared as soloist with the Orchestre Métropolitain du Grand Montréal, Calgary Philharmonic Orchestra and the Juilliard Orchestra, under such conductors as Yannick Nézet-Séguin, Roberto Minczuk and Vladimir Ashkenazy. In 2008 Xu represented The Juilliard School at the Beijing Cultural Olympiad. In January this year Xu returned to the Hallé for a series of concerts with its Principal Guest Conductor, Markus Stenz, and earlier this month he returned to Wigmore Hall for a recital that was also recorded on the Wigmore Live label. During January he also appeared with the Hong Kong Philharmonic Orchestra. As a result of the travel chaos caused by the Icelandic volcano in 2010, Hong Xu undertook last-minute replacement appearances in prestigious recital series in Vancouver and Middlebury, Vermont, both of which have already re-invited him for future seasons.

6 | London Philharmonic Orchestra

Hong Xu made his début with the London Philharmonic Orchestra at the start of this year in an extensive tour of China under Yan Pascal Tortelier. Following tonight’s performance in Brighton he makes his Royal Festival Hall début with the Orchestra on 28 April. Hong Xu is a member of the piano faculty at Wuhan Conservatory of Music.

PROGRAMME NOTES

Speedread Mendelssohn’s Ruy Blas overture, commissioned for a Leipzig performance of a play by Victor Hugo, is an example of the seemingly easy mastery with which the composer could produce a fine work in a mere three days. Beethoven in 1798 was a young giant flexing his creative muscles in his Piano Concerto No. 1. Written for himself as soloist, it is gloriously abundant in its flow of invention all the way to the wit and joyful optimism of its concluding rondo.

Felix MENDELSSOHN

Optimism was hard to come by for Tchaikovsky, who considered in his Fourth Symphony how life alternates ‘between grim reality and fleeting dreams of happiness’. Fate intrudes upon waltz-time longings in the first movement. Wistful memories occupy the second, which is followed by a novel three-part scherzo. The boisterous finale is based on a Russian folksong; ‘Rejoice in the joy of others and life is bearable after all’.

overture, ruy blas, op. 95

1809–47

In 1839, the committee of the Leipzig Theatrical Pension Fund staged a performance of Victor Hugo’s play Ruy Blas, and invited Mendelssohn to compose a soprano song and overture for the production. He accepted, but on reading the play found it ‘detestable’, so he composed the song and asked to be excused the overture on the grounds that he did not have enough time. The committee replied that he might write the overture for a further performance of the play the following year, when they would make certain he had longer notice. He took this as an aspersion on his ability and produced the overture in three days!

It has been suggested that the Overture’s initial wind chords stand for the minister. The first theme of the main Allegro presumably represents the ardent Ruy Blas, while the second (clarinet, bassoon and cellos) refers to the Queen. A third theme suggests the joy of Ruy Blas on discovering that his love for the Queen is reciprocated, and this is brilliantly elaborated at the end.

The play, set in the Spanish Court, tells how the minister Don Salluste, wishing to punish his mistress the Queen for neglecting him, appoints his lackey Ruy Blas to high office so that the latter may win the Queen’s love and she be disgraced by the exposure of Ruy Blas’s lowly origin.

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PROGRAMME NOTES

Ludwig van BEETHOVEN 1770–1827

A composer-pianist at the end of the 18th century was expected to introduce himself with new works of his own composing, and for this purpose Beethoven wrote his B-flat and C major piano concertos during his first years in Vienna. The Concerto in C, the second of the two, was misleadingly labelled No. 1 because it was the first published. Its striking original touches, clearly the work of a young giant flexing his muscles, startled audiences of the time. The first performance took place in Prague in 1798 with the composer as soloist. The simple opening theme begins with an octave leap, a recurrent feature of the movement. Deceptively quiet when introduced by the strings, the theme becomes a martial affair when the full orchestra takes it up. The graceful second subject arrives in unexpected E-flat, but we are allowed only four bars before it is interrupted. The same four bars are tried in two more keys, then the orchestra combines the first theme’s octave leap with the scale from the second, and winds up its exposition with a new, march-like theme. The piano enters with a theme of its own, but in due course the soloist gives

PIANO CONCERTO NO. 1 IN C MAJOR, OP. 15 HONG XU piano Allegro con brio Largo Rondo. Allegro scherzando

out the full version of the lyrical second subject. The development ends with a novel passage of chromatic chords against horn chords. After the reprise of the movement’s themes there comes the soloist’s cadenza – Beethoven provided a choice of three – and a brisk conclusion with the octaves from the beginning. After this activity the slow movement strikes a deeper note. The piano introduces a peaceful melody that the first clarinet continues. Although there is an attractive second theme, Beethoven concentrates on the first, embellishing it with piano writing suggestive of a nocturne. The clarinet intervenes eloquently in the tranquil coda. The robust finale is a rondo with a boisterous main theme. Between its appearances come equally energetic episodes with offbeat accents and syncopated rhythms. The flow of ideas is inexhaustible and the high spirits are unbroken, save for two bars of mock pathos from the oboes just before the end.

INTERVAL – 20 minutes A bell will be rung 3, 2 and 1 minute before the end of the interval.

8 | London Philharmonic Orchestra

Pyotr Ilyich TCHAIKOVSKY 1840–93

For two unconnected reasons, 1877 was a fateful year in Tchaikovsky’s life. Firstly, it was the year in which his friendship with Nadezhda von Meck, the wealthy benefactress whom by mutual agreement he never intentionally met, ripened. Tchaikovsky wrote to her in May that he had been at work since the winter on a symphony, and by early June he was able to tell her that the four movements were complete except for the orchestration. She accepted the dedication, ‘To my best friend’, on condition that her name was not specified. At this time Tchaikovsky became engrossed in composing his opera Eugene Onegin, and the Pushkin story was a powerful factor in persuading him into a loveless marriage that July to a young woman he hardly knew. Within two months he was brought to a nervous breakdown and attempted suicide, and not until December was he sufficiently recovered to tackle the orchestration of the Symphony.

symphony no. 4 in f minor, op. 36 Andante sostenuto – Moderato con anima Andantino in modo di canzona Scherzo: Allegro Finale: Allegro con fuoco

climax. Clarinet and bassoon exchanges lead to the second subject on clarinet – ‘Would it not be better to turn away from reality and plunge oneself in dreams?’ Flutes and oboes take up this theme over a cello countermelody, which soon becomes a swaying theme for violins against soft drum-taps, answered by a major version of the syncopated melody on woodwind – ‘Some luminous human form passes by and beckons. All that was dark and joyless is forgotten.’ Happiness does not last. The Fate motif reappears to open the development, which is almost exclusively concerned with the first theme and ever more insistent Fate. ‘Thus the whole of life’, wrote Tchaikovsky, ‘is a continual alternation between grim reality and fleeting dreams of happiness.’

The first performance took place in Moscow on 22 February 1878 under Nicholas Rubinstein, but it was illprepared and made little impression. The St Petersburg première in November under Eduard Nápravnik was a success, but the Symphony did not become popular in Russia during the composer’s lifetime. ‘I believe’, he said, ‘I have written music that cannot fall into oblivion.’

The second movement expresses the ‘melancholy which steals over us when, at evening, we sit indoors alone, weary of work ... A long procession of memories goes by. How sad to think how much is already past! And yet these recollections of youth are sweet.’ A solo oboe plays a plaintive tune with plucked string accompaniment. The cellos take it over and this brings an answering melody, after which both ideas are repeated in different scoring. The faster central episode has another folk-like tune, introduced by clarinets and bassoons. When the original themes return, they are presented in still more varied dress and with charming ornaments.

Thanks to his correspondence with Mrs von Meck we know the programme underlying the Fourth Symphony. The brass fanfare that opens and dominates the first movement represents Fate or, as Tchaikovsky wrote, ‘the force that prevents us from ever attaining complete happiness ... It can never be overcome. One can only submit to it and take refuge in futile longings.’ The main part of the movement, marked ‘in waltz time’, begins with such longings, expressed by a melody that becomes increasingly agitated and rises to a despairing

Tchaikovsky had high hopes that the novel scherzo would please. It is in three sections, the first being for pizzicato strings and representing ‘fleeting images that come into a man’s head when he has been drinking’. The trio section is for woodwind (suggested by peasants on the spree and a street song) and brass (a distant military band), after which the three sections of the orchestra join forces in a brilliantly conceived and executed recapitulation. Continues overleaf

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PROGRAMME NOTES

For the main theme of the finale Tchaikovsky borrowed a Russian folksong, ‘In the field there stood a birch tree’, which is introduced by the woodwind. The second theme is a jolly march-like tune. The intention is to suggest a rustic holiday with its attendant merrymaking. ‘If you cannot find reason for happiness in yourself ... get out among the people. See what a good time they have.’ There follow two groups of variations on the folksong, divided by the second theme. The last variation is interrupted by the sudden return of the Fate theme. This time, however, it does not dampen spirits for long, and the Symphony ends in a merry mood. ‘Simple, unspoiled happiness does exist. Rejoice in the joy of others and life is bearable after all.’ Programme notes © Eric Mason

London Philharmonic Orchestra 2012/13 season at Brighton Dome Booking for next season’s London Philharmonic Orchestra concerts at Brighton Dome opens this Monday, 23 April: pick up a brochure as you exit the concert this evening or look out for your copy in the post. Saturday 3 November 2012 | 7.30pm Nielsen Pan and Syrinx Dvořák Violin Concerto Rachmaninoff Symphony No. 3 Osmo Vänskä conductor Christian Tetzlaff violin Saturday 2 February 2013 | 7.30pm

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Sibelius Kuolema (excerpts including Valse Triste) Sibelius Violin Concerto Sibelius Symphony No. 4 Jukka-Pekka Saraste conductor Henning Kraggerud violin Saturday 23 February 2013 | 7.30pm Copland Fanfare for the Common Man Joan Tower Fanfare for the Uncommon Woman Copland Piano Concerto Gershwin Rhapsody in Blue Dvořák Symphony No. 9 (From the New World) Marin Alsop conductor Garrick Ohlsson piano

christoph eschenbach conducts beethoven’s missa solemnis LPO–0061 £9.99

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Saturday 16 March 2013 | 7.30pm Beethoven Symphony No. 5 Schumann Cello Concerto Elgar Enigma Variations David Parry conductor Narek Hakhnazaryan cello Tickets £10–£32.50 Box Office 01273 709709 Book online at brightondome.org

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 Anonymous The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Mrs Sonja Drexler Guy & Utti Whittaker Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mr Charles Dumas David Ellen

Commander Vincent Evans Mr & Mrs Jeffrey Herrmann Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Dennis Mr David Edgecombe Mr Richard Fernyhough Ken Follett

Pauline & Peter Halliday Michael & Christine Henry Mr Ivan Hurry Mr Glenn Hurstfield Mr R K Jeha Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Mr Peter Tausig Mrs Kazue Turner Mr D Whitelock Bill Yoe Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

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Adam Mickiewicz Institute The Peter Minet Trust Paul Morgan Charitable Trust The Diana and Allan Morgenthau Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund Newcomen Collett Foundation The Austin & Hope Pilkington Trust The Serge Prokofiev Foundation Serge Rachmaninoff Foundation The Reed Foundation The Rothschild Foundation The Seary Charitable Trust The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Steel Charitable Trust The Stansfield Trust The Bernard Sunley Charitable Foundation The Swan Trust John Thaw Foundation The Thistle Trust The Underwood Trust Kurt Weill Foundation for Music Garfield Weston Foundation Youth Music and others who wish to remain anonymous London Philharmonic Orchestra | 11

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