London Philharmonic Orchestra concert programme 24 Sep 2014 by London Philharmonic Orchestra

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

Southbank Centre’s Royal Festival Hall Wednesday 24 September 2014 | 7.30pm

Magnus Lindberg Chorale (8’) Prokofiev Piano Concerto No. 3 in C major (28’) Interval Shostakovich Symphony No. 8 in C minor (62’)

Vladimir Jurowski conductor Jean-Efflam Bavouzet piano Concert generously supported by the Sharp Family

Free pre-concert performance 6.00pm–6.45pm | Royal Festival Hall Magnus Lindberg conducts the LPO’s Foyle Future Firsts in the London premiere of his piece Souvenir.

* supported by the Tsukanov Family Foundation and one anonymous donor † 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 Vladimir Jurowski 7 Jean-Efflam Bavouzet 8 Programme notes 9 Magnus Lindberg 10 Programme notes contd. 12 Recommended recordings/ Shostakovich on the LPO Label 13 Next concerts 14 Orchestra news/ Principal Friends 15 Backstage 16 Rachmaninoff: Inside Out 18 Supporters 19 Sound Futures donors 20 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

Welcome to the new LPO season! Welcome to the first concert of the London Philharmonic Orchestra’s 2014/15 season 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 0207 840 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 lesser-known works.

•

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 AustroGerman tradition: Brahms, Schubert and Richard Strauss.

•

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

•

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

•

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.

•

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 Ilyoung Chae Chair supported by an anonymous donor

Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Yang Zhang Grace Lee Rebecca Shorrock Alina Petrenko Galina Tanney Caroline Frenkel Caroline Sharp Ishani Bhoola Second Violins Victoria Sayles Guest Principal Jeongmin Kim Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Nynke Hijlkema Marie-Anne Mairesse Ashley Stevens Dean Williamson Harry Kerr Stephen Stewart Elizabeth Baldey Sheila Law John Dickinson

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Michelle Bruil Isabel Pereira Daniel Cornford Martin Fenn Sarah Malcolm Naomi Holt Miriam Eisele Cellos Kristina Blaumane Principal Pei-Jee Ng Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Susanna Riddell Tom Roff Helen Rathbone Anne Chauveau Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Tom Walley Sebastian Pennar Laura Murphy Lowri Morgan Helen Rowlands

Flutes Juliette Bausor Guest Principal Sue Thomas*

Horns David Pyatt* Principal Chair supported by Simon Robey

John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Chair supported by the Sharp Family

Stewart McIlwham* Clare Robson Piccolos Stewart McIlwham* Principal Clare Robson

Trumpets Nicholas Betts Principal Anne McAneney*

Oboes Ian Hardwick Principal Lucie Sprague

Robin Totterdell David Geoghan

Chair supported by Geoff & Meg Mann

Trombones Mark Templeton* Principal

Cor Anglais Sue Böhling Principal

Chair supported by William & Alex de Winton

Chair supported by Julian & Gill Simmonds

Matthew Knight Bass Trombone Lyndon Meredith Principal

Clarinets James Burke Guest Principal Emily Meredith Paul Richards

Tuba Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

E-flat Clarinet Marie Lloyd

Timpani Simon Carrington* Principal

Bass Clarinet Paul Richards Principal Bassoons Gareth Newman Principal Laura Vincent Claire Webster Contrabassoon Claire Webster

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Tom Edwards Keith Millar Jeremy Cornes Sarah Mason James Bower * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

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 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 40 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 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. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra 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

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 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; Orff’s Carmina Burana with Hans Graf; and Mahler’s Das Lied von der Erde with Yannick Nézet-Séguin, Sarah Connolly and Toby Spence. 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. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

Western orchestra. 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. 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

Vladimir Jurowski Principal Conductor and Artistic Advisor

Quite apart from the immaculate preparation and the most elegant conducting style in the business, Jurowski programmes with an imagination matched by none of London’s other principal conductors.

The Arts Desk, December 2012

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin, New York and St Petersburg Philharmonic orchestras; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

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His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra national de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. lpo.org.uk/about/jurowski

Watch a video of Vladimir Jurowski introducing the LPO 2014/15 season: vimeo.com/105645566

Jean-Efflam Bavouzet piano

He makes you listen to music as if you are discovering it Eureka!style: yes, that’s what the composer must have meant.

The Financial Times on Beethoven Sonatas Vol. 1 recording, May 2012

Award-winning pianist Jean-Efflam Bavouzet enjoys a prolific recording and international concert career. He is also Artistic Director of a new biennial piano festival set in the stunning scenery of Norway’s Lofoten Islands. The inaugural festival took place in July 2014. Bavouzet records exclusively for Chandos and his most recent releases include the complete Prokofiev piano concertos with the BBC Philharmonic and Gianandrea Noseda, and ongoing Beethoven and Haydn piano sonata cycles. His recordings have earned him multiple prizes including two Gramophone Awards, two BBC Music Magazine Awards, a Diapason d’Or and Choc de l’année. Summer 2014 saw Bavouzet perform with the Netherlands Philharmonic Orchestra at the Robeco SummerNights in Amsterdam’s Concertgebouw. He also returned to the Tivoli Orchestra to perform concertos by Haydn and Beethoven, directing from the keyboard. He kicks off the 2014/15 season with a USA tour with the London Philharmonic Orchestra under Vladimir Jurowski, which includes Carnegie Hall. The season also features his debuts with the Orchestre Philharmonique du Luxembourg under Emmanuel Krivine, the Cincinnati Symphony Orchestra under Louis Langrée and the Orchestra della Svizzera Italiana in Lugano (Vladimir Ashkenazy).

Recent highlights have included concerts with the Pittsburgh and Beijing symphony orchestras, as well as the Bayerisches Staatsorchester and François-Xavier Roth in Munich, and returns to the Philharmonia Orchestra, the Manchester Camerata (Gábor TakácsNagy) and the Warsaw Philharmonic Orchestra, where he performed a complete cycle of Beethoven’s piano concertos. He regularly collaborates with conductors such as Vasily Petrenko, Daniele Gatti, Valery Gergiev, Neeme Järvi, Esa-Pekka Salonen, Kirill Karabits, Andris Nelsons, Krzysztof Urbański, Antoni Wit, Yan-Pascal Tortelier and Iván Fischer. An equally active recitalist, Bavouzet returns this season to the Louvre in Paris and London’s Wigmore Hall, and gives recitals in Munich and Budapest as well as Taiwan, Melbourne and Brisbane. Bavouzet has worked closely with Pierre Boulez, Maurice Ohana and Bruno Mantovani and is also a champion of lesser-known French music, notably that of Gabriel Pierné and Albéric Magnard. He regularly collaborates with the Palazzetto Bru Zane and has devised a chamber music programme dedicated to the music of Magnard. bavouzet.com facebook.com/JeanEfflamBavouzet

He returns to the Orchestre National de France (Juanjo Mena), the Hong Kong Philharmonic, to Japan to work with the NHK Symphony Orchestra, and to Australia for concerts with the Sydney and Adelaide symphony orchestras. His Residency at the Orquestra Sinfônica do Estado de São Paulo concludes with a week of chamber music, recitals and masterclasses.

Jean-Efflam discusses his personal viewpoint on music and pianos, and discusses his favourite composers, early musical experience and more in a YouTube video by Yamaha Music UK: bit.ly/1rC9KB3

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Programme notes

Speedread Magnus Lindberg, the London Philharmonic Orchestra’s new Composer in Residence, is one of the few contemporary composers whose music combines originality, sophistication and approachability. Chorale, written in 2002, puts a Bach hymn tune through some elaborate and ingenious transformations, yet somehow the process makes lucid sense, evoking natural forces at work: the currents of the sea and their transforming effect on the rock formations beneath its surface. Lindberg’s ability to combine ingenuity with intense feeling and compelling directness is shared by the

Magnus Lindberg

two 20th-century Russian masters in this programme. Prokofiev’s Third Piano Concerto is a thrilling fusion of steely brilliance and tender, dream-like lyricism, with some wonderful sharp-edged humour thrown in along the way. Shostakovich’s Eighth Symphony, written towards the end of the Second World War, is powerfully – at times almost shockingly – tragic. But it is also superbly structured and ceaselessly inventive, and in its courageous confrontation with Russia’s appalling suffering, both during and before Hitler’s invasion, it wins through ultimately to a kind of peace.

Chorale

born 1958

Lush harmonies, dynamic rhythms, coruscating orchestral colours – all of these have long been features of Finnish composer Magnus Lindberg’s work. But in his brilliant orchestral showpiece Feria (1997), something else stood forward: here, in the very opening bars, was a sharply distinct, instantly memorable theme. The fashion in contemporary music had long been to avoid the traditional theme-and-development style of argument – just as modernist novels tended to avoid traditional narrative – but that often makes the music harder for an audience to grasp at first hearing. Reengaging with that tradition (magnificently exemplified in the symphonies of Lindberg’s great countryman Sibelius) wasn’t simply a way of defying fashion, it was something of a personal rediscovery for Lindberg, invigorating his musical language and in the process enlarging its popular appeal. Lindberg followed up the success of Feria with two major works, the Clarinet Concerto and Chorale (both

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2002), which similarly make use of strikingly simple and memorable themes. The Clarinet Concerto opens with, and subsequently develops, a childlike song motif, while Chorale works with melodic phrases and harmonies from one of J. S. Bach’s most famous chorales: Es ist genug (‘It is enough’), the concluding hymn from Bach’s church cantata O Ewigkeit, du Donnerwort (‘O Eternity, thou thunderous word’), which Alban Berg had also used so movingly in his Violin Concerto. However Chorale is not a straightforward return to Sibelian or Beethovenian theme-and-development. Motifs like the stepwise-rising four notes of the Bach chorale’s first phrase can easily be made out – at the very beginning of Chorale we hear them played by the first trumpet. Some of Lindberg’s developments of the chorale can take us into remote territory, but just when Bach’s hymn seems far away, its distinct, reassuring features can be made out again. Tellingly, Lindberg makes use of imagery from nature:

‘I make an analogy with the rise and fall of the tide. When the tide is in, the sea-bed is invisible; but when the tide goes out, you see the rock formation on the sea-bed.’

Here Bach’s hymn is the rock, Lindberg’s music the moving water that covers and then exposes it. The result is a short piece which says much on first hearing, and reveals still more with time.

An introduction to Magnus Lindberg Finnish conductor Magnus Lindberg becomes the London Philharmonic Orchestra’s Composer in Residence from the beginning of the 2014/15 season. As well as tonight’s performance of his Chorale, the season also features the world premiere of a new work for soprano and orchestra, performed by Barbara Hannigan on 28 January 2015; and the UK premiere of his Second Piano Concerto, given by Yefim Bronfman on 21 March 2015. Lindberg will also play an active role in the Orchestra’s education activities, mentoring the four participants on the Leverhulme Young Composers scheme. He will also conduct the annual Debut Sounds concert in June 2015. Lindberg was born in Helsinki in 1958. Following piano studies, he entered the Sibelius Academy where his composition teachers included Einojuhani Rautavaara and Paavo Heininen. The latter encouraged his pupils to look beyond the prevailing Finnish conservative and nationalist aesthetics, and to explore the works of the European avantgarde. This led around 1980 to the founding of the informal grouping known as the Ears Open Society including Lindberg and his contemporaries Eero Hämeeniemi, Jouni Kaipainen, Kaija Saariaho and Esa-Pekka Salonen, which aimed to encourage a greater awareness of mainstream modernism. Lindberg made a decisive move in 1981, travelling to Paris for studies with Vinko Globokar and Gérard Grisey. During this time he also attended Franco Donatoni’s classes in Siena, and made contact with Brian Ferneyhough, Helmut Lachenmann and York Höller. His compositional breakthrough came with two large-scale works, Action– Situation–Signification (1982) and Kraft (1983–85), which were inextricably linked with his founding with Salonen of the experimental Toimii Ensemble. Lindberg was Composer in Residence of the New York Philharmonic between 2009 and 2012, with new works including the concert-opener EXPO premiered to launch Alan Gilbert’s tenure as the orchestra’s Music Director, Al Largo for orchestra, Souvenir for ensemble, and Piano Concerto No. 2 premiered by Yefim Bronfman in 2012. Lindberg’s music has been recorded on the Deutsche Grammophon, Sony, Ondine, Da Capo and Finlandia labels. He is published by Boosey & Hawkes. Reprinted by kind permission of Boosey & Hawkes

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Programme notes continued

Sergei Prokofiev 1891–1953

Prokofiev wrote his Third Piano Concerto during the years 1916–21: five years in which the world he knew changed out of all recognition. At the beginning Russia was still home. But the old Tsarist regime was completely unprepared for the onset of the First World War and the assault against Germany was poorly managed. Appalling losses followed, stoking up the resentment that would lead to the revolutions of 1917 and the destruction of the old Russia. By the time Prokofiev had finished the Third Piano Concerto, Tsarism had been replaced by Bolshevism, and Prokofiev (no revolutionary sympathiser) found it advisable to stay abroad. At first he tried to make a living in the USA, and when that failed he tried Paris instead, with more success. And yet Prokofiev never felt fully at home in the West. For him, as for Stravinsky, Russian remained ‘the exiled language of my heart’. Although the unaccompanied clarinet tune that opens the Third Concerto doesn’t sound quite like any authentic folksong, many have found something characteristically Russian here. The theme seems ready to expand lyrically (strings and flute), but then it is swept away by a racing Allegro full of devilish rapid figuration for the soloist. In music like this we can gauge something of Prokofiev’s own brilliance as a pianist:

Piano Concerto No. 3 in C major, Op. 26 Jean-Efflam Bavouzet piano 1 Andante – Allegro 2 Andantino (Theme and Variations) 3 Allegro, ma non troppo

commenting on Prokofiev’s playing not long after his arrival in America, one journalist dubbed him ‘the man with the steel fingers’. Nothing stays the same for long however: throughout this Concerto mood, textures and character keep changing, sometimes with startling rapidity, and Prokofiev the deft, wicked ironist is rarely far away. The first movement’s second theme (oboe and pizzicato violins) seems jaunty enough, but the clicking castanets add a slightly macabre touch, which is strongly underlined when the theme returns towards the end of the movement. Then in the second movement, Prokofiev seems to take grim pleasure in subjecting his innocentsounding Andantino (woodwind) theme to all manner of extreme transformations, through the angular violence of Variation III, and the eerie stillness of IV to the violent obsessive climax of Variation V. A more good-natured grotesquerie seems to emerge in the finale, but before long we see the demonic side of the piano again. After a while the tempo drops and a luscious melody, introduced by cellos, is treated to some fabulous intricate decorative work by the piano – magical Prokofievian night music at its finest. But then the dancing, pounding main theme returns, and the Concerto ends in a whirl of steely sound.

Interval – 20 minutes An announcement will be made five minutes before the end of the interval.

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Dmitri Shostakovich 1906–75

Shostakovich’s Seventh Symphony, the ‘Leningrad’ (1941), was one of the towering successes of his career. Composed partly in the besieged city of Leningrad (now St Petersburg) at the height of the Second World War, it seemed at the time to embody the Russian people’s elemental will to defy Hitler’s invading armies and survive barely imaginable suffering. A very different fate awaited its successor, the Eighth, composed two years later. It could be that Russia simply wasn’t ready at this stage to embrace a work which – even though it came with no title or programme – seemed intent on spelling out the appalling human cost of war. For Communist Party officialdom there may also have been an uncomfortable suspicion that the Symphony’s evocation of destruction and devastation, its mood of at times searing protest, wasn’t only inspired by Hitler’s aggression – that memories of Stalin’s pre-war atrocities also loomed large. Whatever the case, the response to the Symphony’s premiere was largely muted. And once the war was over and the political tide in the Soviet Union began to turn against Shostakovich, the Eighth Symphony was increasingly held up as an example of all that had gone wrong. After the infamous ‘Zhdanov decree’ of 1948, when Andrei Zhdanov, Chairman of the Supreme Soviet, denounced Shostakovich as a ‘bourgeois formalist’, the Eighth Symphony was singled out as an example of ‘unhealthy individualism’ and ‘pessimism’. The critical feeding frenzy that followed reached its peak in comments like that of the composer Vladimir Zahkarov, who insisted that the Eighth could ‘in no way be called a musical composition; it is a “composition” which has absolutely no connection with the art of music.’ The Symphony remained under an unofficial ban until well after Stalin’s death in 1953.

Symphony No. 8 in C minor, Op. 65 1 Adagio – Allegro non troppo 2 Allegretto 3 Allegro non troppo – 4 Largo – 5 Allegretto

For Shostakovich himself, however, the Eighth Symphony retained special significance. In 1949, when the campaign against him was at its height, he wrote a carefully guarded letter to his close friend Isaak Glikman, in which he describes picking up the score of ‘one of my compositions’ and reading it through: ‘I was astounded by its qualities, and thought that I should be proud and happy that I had created such a work.’ Shostakovich’s pride is entirely justified. Despite the powerful, at times almost shockingly cathartic expressions of horror, rage and desperate sadness, it is also a magnificently structured work, its layout and dramatic pace engineered with a mastery that compares to a great Ancient Greek tragedy. The first movement is by far the longest. Its spacious, prevailingly desolate outer sections seem to contain many striking ideas, but in fact Shostakovich’s use of motifs is very economical: so much derives from the cellos and basses’ angry, jagged opening idea and the higher strings’ impassioned response. At the heart of the movement there is long sustained crescendo, tempo and tension eventually mounting to a catastrophic return of the opening jagged idea, now on full orchestra with massed percussion. A long recitative for cor anglais, like the voice of a lone survivor after a traumatic event, leads to mostly quiet summing up, though with one last reminder of unfinished business on shrill muted brass just before the hushed ending. The next three movements are significantly shorter, but the concentration of feeling is, if anything, even greater. A garish, goose-stepping Allegretto, with mocking voices on woodwind, is followed by an obsessive, machine-like Allegro non troppo, its outer sections dominated by relentlessly ticking repetitions framing a kind of phantasmagoric parade-ground middle section. Eventually this builds to a shattering climax, moving

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Programme notes continued

straight into the Largo, where long, seemingly numbed violin and woodwind lines unwind above a slowly repeating theme in the bass. When it seems that grief is almost exhausted there is a sudden quiet turn to a brighter major key and the finale begins with a long limping bassoon theme, part-tragic, part-comic. This builds eventually to another climactic full-orchestral return of the first movement’s opening theme. But when the dust has settled, grotesque comedy returns with a chuckling, cavorting bass clarinet and an intoxicated-sounding solo violin. Eventually a strange stillness pervades the music, with ghostly echoes of earlier motifs on low flutes and pizzicato violas. Peace or resignation? Hope or despair? It is hard to say. But here above all one can understand why Shostakovich could have felt ‘proud and happy’ to have written such music.

Recommended recordings of tonight’s works Magnus Lindberg: Chorale Kari Kriikku/Finnish Radio Symphony Orchestra/ Sakari Oramo Ondine ODE 1038-2 Prokofiev: Piano Concerto No. 3 Nikolai Lugansky / Deutsches Symphonie-Orchester Berlin/Kent Nagano Naïve/Ambroisie AM210 Shostakovich: Symphony No. 8 LPO/Gennady Rohzdestvensky LPO Label LPO-0069

Programme notes © Stephen Johnson

New on the LPO Label: Jurowski conducts Shostakovich CD on sale now Dmitri Shostakovich: Symphony No. 6 Symphony No. 14 Vladimir Jurowski conductor Tatiana Monogarova soprano Sergei Leiferkus baritone London Philharmonic Orchestra

‘An exceptional account of Shostakovich 6 … affecting and scintillating, hugely involving, the playing concentrated, unanimous and full of character.’ Classical Source Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Available to download or stream online via iTunes, Spotify, Amazon and others.

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Next LPO concerts at Royal Festival Hall

Friday 3 October 2014 | 7.30pm JTI Friday Series | Rachmaninoff: Inside Out* Rachmaninoff The Isle of the Dead Rachmaninoff Piano Concerto No. 1 (original version) Rachmaninoff Symphonic Dances Vladimir Jurowski conductor Alexander Ghindin piano

Friday 24 October 2014 | 7.30pm JTI Friday Series Wagner Prelude to Act 1, Lohengrin Beethoven Triple Concerto Tchaikovsky Symphony No. 5 Jukka-Pekka Saraste conductor Maria João Pires piano Augustin Dumay violin Antonio Meneses cello

Sunday 26 October 2014 | 7.30pm FUNharmonics Family Concert: The Toad and the Snail With new music by Benjamin Wallfisch to accompany Roald Dahl’s hilarious masterpiece. Benjamin Wallfisch conductor Chris Jarvis presenter

Saturday 1 November 2014 | 7.30pm Mahler Symphony No. 2 (Resurrection) Jaap van Zweden conductor Elizabeth Watts soprano Alice Coote mezzo soprano London Philharmonic Choir Please note there will be no interval during this performance.

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*

Tickets £10–£18 adults, £5–£9 children

Vaughan Williams Fantasia on a Theme by Thomas Tallis Rachmaninoff Piano Concerto No. 4 (final version) Tchaikovsky Symphony No. 1 (Winter Daydreams)

Wednesday 29 October 2014 | 7.30pm Rachmaninoff: Inside Out*

Osmo Vänskä conductor Nikolai Lugansky piano

Rachmaninoff Piano Concerto No. 3 Rachmaninoff Symphony No. 2

* Rachmaninoff: Inside Out is presented in co-operation with

Vassily Sinaisky conductor Pavel Kolesnikov piano

the Serge Rachmaninoff Foundation.

Unless otherwise stated, 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

Orchestra news

Autumn tours

September’s LPO Label CD release

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 first of these is a visit to Germany at the end of this month with conductor Vladimir Jurowski and pianist Martin Helmchen, where we will give two concerts in Nuremberg and Frankfurt. From Germany it’s straight on to Madrid for two concerts at the Auditorio Nacional de Música, this time featuring pianists Jean-Efflam Bavouzet and Alexander Ghindin. There’s just time for a breather then just a week later, on 9 October, the Orchestra and Jurowski jet off again, this time to California – the Orchestra’s first West Coast USA tour in eight years. Tonight’s pianist Jean-Efflam Bavouzet re-joins the Orchestra for concerts in Santa Barbara, Costa Mesa, Northridge (California State University) and San Francisco. They then fly to the East Coast for a concert at New York’s Carnegie Hall, followed by appearances in Toronto (Roy Thomson Hall) and Chicago (Symphony Center). Follow our tour adventures on Twitter: @lporchestra

New this month on the LPO Label is Richard Strauss’s Don Juan and Ein Heldenleben, conducted by Bernard Haitink (LPO-0079). Both works exhibit the glorious orchestral colours and exhilarating energy that were to become the composer’s most admired hallmarks. As the London Philharmonic Orchestra’s Principal Conductor from 1967–79, Bernard Haitink presided over some of the Orchestra’s most memorable and acclaimed performances. These recordings were made live in concert at Royal Festival Hall in 1986 and 1992. The CD is available now and is priced £9.99, including free postage and packaging. All LPO Label recordings are available 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.

Principal Friends In this programme for the opening concert of the season, the London Philharmonic Orchestra acknowledges the generous support of its Principal Friends, whose valuable contributions help us to sustain our work throughout the year. Our grateful thanks to: Mr Ralph Aldwinckle Mr Clifford Brown Mr Michael Ching Alison Clarke & Leo Pilkington Mr Geoffrey Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr Roger Greenwood Mr Hugh Herrington Mr Arjun Kar Mr Eric Kennedy Mr David Macfarlane

14 | London Philharmonic Orchestra

John Meloy Mr Stephen Olton Mr David Peters Mr James Pickford Mr Ivan Powell Mr & Mrs Grahm and Jean Pugh Mr Christopher Queree Mr James Reece Mr Michael Urmston Mr E Weighman Mr C D Yates

Backstage

We get to know Geoffrey Lynn, First Violin

Geoffrey celebrates 40 years with the LPO this season, having joined the First Violin section in 1974. We talked to him about life in the Orchestra and some of the most memorable highlights of his career so far.

What were your first experiences of music? My first musical memory is of trying to pick out the notes to Bach’s ‘Jesu, Joy of Man’s Desiring’ on the rather out-of-tune piano at home in Stirling, Scotland. At my primary school the music specialist taught very well. However it appears that my singing was too out-of-tune to let me sing in the school choir! When the headmaster asked if anyone would like violin lessons, my best friend put up his hand and I decided I would like to go with him. After six months my friend decided that he was going to give up and when I informed my mother that I too was going to give up, I was firmly told that that would not be an option. I was ten years old at the time. By the age of 14, I was in the National Youth Orchestra. You originally began studying medicine before moving to the Royal College of Music to study the violin. Why did you decide to switch to music? In 1968 I entered Edinburgh Medical School hoping to become a psychiatrist. After two terms in halls of residence, I could stand it no longer and decided to commute from home, just over 30 miles away. Two terms later I decided to abandon medicine altogether and worked for a short period as a bus conductor. After trying and failing to get into the Royal Academy of Music, I found more success with the Royal College and had three and a half very happy years there, later winning the top violin prize. Do I have any regrets about leaving medicine? I’m sure that psychiatry would not have been without its problems, and I have enough friends who are doctors to know that the grass is brown everywhere!

What have been the highlights of your time with the Orchestra? One of the most memorable projects was the run of Debussy’s Pelléas et Mélisande at Glyndebourne with Andrew Davis in 1999. Another was recording five or six Paganini violin concertos, one after another, in Barking Town Hall with Salvatore Accardo in 1975 – a truly staggering feat of violin playing! What have been the biggest changes to life in the LPO over the last 40 years? The biggest change is probably the extra rehearsal time we’re now allowed. Forty years ago one could often expect to play a concert on one three-hour rehearsal. This practically never happens now with the London concerts, and it has made a huge difference to the standard of our performances. We also now have the use of our own rehearsal space at Henry Wood Hall, which makes life much easier. What are the biggest challenges you face as an orchestral violinist? Which composers do you find trickiest? One of the hardest challenges for all orchestral players is often playing unfamiliar repertoire from poor quality printed parts. Personally, I also find that playing the accompaniment to a Mozart piano concerto with the necessary style and precision is always a challenge to one’s control of the instrument. How do you like to spend your free time? I enjoy spending time with my family: I am married to Frankie and have two children: a daughter, Amy, who is married with a son, Alexander; and a son, Stuart, who got married this summer, so it’s been a busy time recently! At every possible opportunity, you will find me up a mountain clipping on a pair of skis. I also take many other holidays – either visits to somewhere that my wife and I find interesting, or enjoying our ‘second life’ in our flat in Nice on the Côte d’Azur. I’m also to be found cycling into work on a fairly regular basis. Geoffrey’s chair in the London Philharmonic Orchestra is generously supported by Caroline, Jamie & Zander Sharp. Meet the Orchestra members: lpo.org.uk/about/musician-biographies

London Philharmonic Orchestra | 15

I N S I D E

O U T

A year-long exploration of the composer’s life and music, at Southbank Centre’s Royal Festival Hall throughout 2014/15 Friday 3 October 2014 | 7.30pm JTI Friday Series

Rachmaninoff The Isle of the Dead | Symphonic Dances | Piano Concerto No. 1 (original version)

Saturday 7 February 2015 | 7.30pm Rachmaninoff Three Russian Songs | Spring Enescu Symphony No. 3

Vladimir Jurowski conductor | Alexander Ghindin piano

Vladimir Jurowski conductor | Andrei Bondarenko baritone London Philharmonic Choir

Wednesday 29 October 2014 | 7.30pm

Wednesday 11 February 2015 | 7.30pm

Rachmaninoff Piano Concerto No. 3 | Symphony No. 2

Stravinsky Symphony in Three Movements Rachmaninoff Piano Concerto No. 2 | The Bells

Vassily Sinaisky conductor | Pavel Kolesnikov piano

Friday 7 November 2014 | 7.30pm JTI Friday Series

Vasily Petrenko conductor | Jorge Luis Prats piano Anna Samuil soprano | Daniil Shtoda tenor Alexander Vinogradov bass | London Philharmonic Choir

Vaughan Williams Fantasia on a Theme by Thomas Tallis Rachmaninoff Piano Concerto No. 4 (final version) Tchaikovsky Symphony No. 1 (Winter Daydreams)

Friday 13 February 2015 | 7.30pm

Osmo Vänskä conductor | Nikolai Lugansky piano

Rachmaninoff Piano Concerto No. 4 (original version) Shostakovich Symphony No. 4

Friday 28 November 2014 | 7.30pm

Vasily Petrenko conductor | Alexander Ghindin piano

JTI Friday Series

Wagner Overture, Tannhäuser Rachmaninoff Rhapsody on a Theme of Paganini Tchaikovsky Symphony No. 4

JTI Friday Series

Wednesday 25 March 2015 | 7.30pm Mozart Symphony No. 36 (Linz) | Dvořák Symphony No. 8 Rachmaninoff Piano Concerto No. 1 (final version)

David Zinman conductor | Behzod Abduraimov piano

Ilyich Rivas conductor | Dmitry Mayboroda piano

Wednesday 3 December 2014 | 7.30pm

Wednesday 29 April 2015 | 7.30pm

Szymanowski Concert Overture Scriabin Piano Concerto | Rachmaninoff Symphony No. 1

Rachmaninoff Four Pieces | Ten Songs | Symphony No. 3

Vladimir Jurowski conductor | Igor Levit piano

Wednesday 21 January 2015 | 7.30pm Wagner Das Rheingold (orchestral excerpts) Rachmaninoff The Miserly Knight (semi-staged) Vladimir Jurowski conductor | Vsevolod Grivnov Albert Maxim Mikhailov Servant | Viacheslav Voynarovskiy Moneylender | Albert Shagidullin The Duke Sergei Leiferkus The Baron | Annabel Arden director

16 | London Philharmonic Orchestra

Vladimir Jurowski conductor | Vsevolod Grivnov tenor Rachmaninoff: Inside Out is presented in co-operation with the Serge Rachmaninoff Foundation. Tickets: £9–£39 (Premium seats £65) London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday to 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

BENJAMIN BRITTEN

WAR REQUIEM ROYAL CHORAL SOCIETY LONDON PHILHARMONIC ORCHESTRA

EKATERINA SCHERBACHENKO Soprano

STEPHAN RÜGAMER Tenor

BRYN TERFEL Bass-Baritone

REMEMBRANCE SUNDAY 9 NOVEMBER 2014 at 3.30pm ROYAL ALBERT HALL 020 7589 8212 royalalberthall.com

RICHARD COOKE Conductor

TRINITY BOYS CHOIR Introduced by

ANGELA RIPPON PROCEEDS TO

VETERANS AID London Philharmonic Orchestra | 17

1914~2o14 Marking the Centenary of the First World War

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 Mr & Mrs David Malpas Mr Michael Posen Mr & Mrs Thierry Sciard 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 Richard Fernyhough Tony & Susan Hayes Michael & Christine Henry Malcolm Herring Ivan Hurry Mr Glenn Hurstfield Mr R K Jeha

Per Jonsson Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Dr Frank Lim Paul & Brigitta Lock 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 Thomas Eggar LLP 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

18 | London Philharmonic Orchestra

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 Welser-Möst Circle John Ireland Charitable Trust Neil Westreich 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 Buckley Bruno de Kegel Goldman Sachs 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 Tom and Phillis Sharpe Mr & Mrs G Stein TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker Pritchard Donors Anonymous Linda Blackstone Michael Blackstone Yan Bonduelle Richard and Jo Brass Britten-Pears Foundation 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 Karima & David G Lyuba Galkina David Goldberg Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust

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 Peter Mace Geoff & Meg Mann Ulrike Mansel Marsh Christian Trust John Montgomery Rosemary Morgan Paris Natar John Owen 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 | 19

Administration

Board of Directors Victoria Sharp 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 Sharp 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 Sharp 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