London Philharmonic Orchestra 25 April 2015 concert programme by London Philharmonic Orchestra

Concert programme lpo.org.uk

Winner of the RPS Music Award for Ensemble Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Leader PIETER SCHOEMAN supported by Neil Westreich Composer in Residence MAGNUS LINDBERG Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Contents

Southbank Centre’s Royal Festival Hall Saturday 25 April 2015 | 7.30pm

Wagner Overture, The Flying Dutchman (11’) Beethoven Symphony No. 4 in B flat major, Op. 60 (32’) Interval Janáček Glagolitic Mass (39’)

Tomáš Netopil conductor Andrea Danková soprano Karen Cargill mezzo soprano Kor-Jan Dusseljee tenor Jochen Schmeckenbecher baritone Catherine Edwards organ London Philharmonic Choir Orfeó Català Cor de Cambra del Palau de la Música Catalana

Free pre-concert event 6.00pm–6.30pm Royal Festival Hall William McVicker presents a guide to the organ, in celebration of the recent restoration of the Royal Festival Hall’s organ.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Tomáš Netopil 7 Andrea Danková Karen Cargill 8 Kor-Jan Dusseljee Jochen Schmeckenbecher 9 Catherine Edwards 10 London Philharmonic Choir 11 Orfeó Català Cor de Cambra del Palau de la Música Catalana 12 Programme notes 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 We look forward to seeing you again soon.

London Philharmonic Orchestra 2014/15 season Welcome to tonight’s London Philharmonic Orchestra concert at Southbank Centre’s Royal Festival Hall, as we head towards the end of our 2014/15 season in London. Still to come: the final concert in our Rachmaninoff: Inside Out season on 29 April (see page 9), and the last concert on 1 May when cellist Narek Hakhnazaryan performs Dvořák’s Cello Concerto with conductor Giancarlo Guerrero. Berlioz’s opium-induced Symphonie fantastique ends the season. lpo.org.uk/whats-on Andrés Orozco-Estrada nominated for award The LPO congratulates its new Principal Guest Conductor, Andrés Orozco-Estrada, for his nomination in the Young Artists category for the RPS Awards. The Awards are the highest recognition for live classical music-making in the UK. Andrés conducts the Orchestra in the new season, on Wednesday 25 November, performing Mahler’s First Symphony. lpo.org.uk/whats-on/season15-16

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.

Janáček Glagolitic Mass on the LPO Label

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.

including Karen Cargill, one of tonght’s soloists Kurt Masur conductor Zdena Kloubová soprano Karen Cargill mezzo soprano Pavol Breslik tenor | Gustáv Beláček bass David Goode organ Czech Philharmonic Choir Of Brno Recorded live by the BBC at the Royal Albert Hall £9.99 | LPO-0029 Also available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets

2 | London Philharmonic Orchestra

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Ji-Hyun Lee Chair supported by Eric Tomsett

Martin Höhmann Chair supported by The Jeniffer and Jonathan Harris Charitable Trust

Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Sarah Streatfeild Yang Zhang Rebecca Shorrock Galina Tanney Caroline Frenkel Peter Nall Kate Cole John Dickinson Alice Hall Miranda Allen Jacqueline Roche Francesca Smith Second Violins Philippe Honore 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 Floortje Gerritsen Helena Nicholls Harry Kerr Sheila Law

Violas Przemyslaw Pujanek Guest Principal Robert Duncan Gregory Aronovich Benedetto Pollani Emmanuella Reiter Laura Vallejo Isabel Pereira Sarah Malcolm Richard Cookson Miriam Eisele Martin Wray Peter Norriss

Oboes Ian Hardwick* Principal Alice Munday

Trombones Mark Templeton* Principal

Cor Anglais Christine Pendrill

David Whitehouse

Cellos Pei-Jee Ng Guest Principal Laura Donoghue Santiago Carvalho† David Lale Elisabeth Wiklander Susanna Riddell Tom Roff Helen Rathbone Tae-Mi Song George Hoult

Bassoons Jaroslaw Augustyniak Guest Principal Gareth Newman Simon Estell

Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston William Cole Lowri Morgan Helen Rowlands Charlotte Kerbegian Flutes Juliette Bausor Guest Principal Sue Thomas* Chair supported by Victoria Robey OBE

Stephanie Vici Katherine Bicknell Piccolos Katherine Bicknell Stephanie Vici

Clarinets Robert Hill* Principal Thomas Watmough Paul Richards Bass Clarinet Paul Richards Principal

Chair supported by William & Alex de Winton

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar Contra-Bassoon Simon Estell Principal Horns David Pyatt* Principal Chair supported by Simon Robey

John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal David Hilton Piccolo Trumpet Nicholas Betts

Harps Rachel Masters* Principal Lucy Haslar Celeste Janet Simpson * 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: Sonja Drexler; Bianca and Stuart Roden; Anonymous donor

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

Another evening of ambition and high quality with the London Philharmonic Orchestra. Richard Fairman, Financial Times, March 2015 The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking 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

Tomáš Netopil conductor

The substantially gifted Tomáš Netopil has the full measure of all four works [of Janáček].

Rob Cowan, Gramophone

Tomáš Netopil started this season with his debut at the Vienna State Opera with Dvořák’s Rusalka, returning swiftly in November for Janáček’s The Cunning Little Vixen. He also made his debut at the Hamburg State Opera and continued his long-standing collaboration with the Dresden State Opera with a new production of The Cunning Little Vixen. This season also includes a new production of La Juive in Antwerp. In the symphonic field he has had numerous reinvitations including with l’Orchestre de Paris and the Orchestra Nazionale della RAI, and makes his debut with the Rundfunk Sinfonieorchester Berlin and the Orchestre Philharmonique de Monte-Carlo. Since autumn 2013 Tomáš has been Music Director of the Aalto Theatre and the Philharmonie Essen, where his first season included premieres and revivals of Macbeth, The Flying Dutchman and Don Giovanni. In the 2014/15 season he conducts Idomeneo, Die Walküre and Fidelio. From 2008-12 he was Music Director of the Prague National Theatre and Estates Theatre. Career highlights also include performances on international opera stages including the Deutsche Oper Berlin, Sächsische Staatsoper Dresden, Bavarian State Opera, Munich, Operá National de Paris, Teatro La Fenice Venezia, Salzburger Festspiele and Zurich Opera House. He has led international orchestras such as the Berlin Philharmonic, Gewandhaus Orchester Leipzig, Staatskapelle Dresdner, Bavarian Radio Symphony Orchestra, Staatsorchester Stuttgart, Vienna Symphony

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Orchestra, Philharmonia Orchestra, BBC Philharmonic Orchestra, Orchestre de Paris, Orchestra Filarmonica della Scala Milano, Orchestra dell´Accademia Nazionale di Santa Cecilia and Dallas Symphony orchestras to name but a few. His recording of Janáček’s symphonic music released on the Supraphon label was Gramophone’s ‘Editors choice of the month’. Tomáš studied violin and conducting in his native Czech Republic as well as at the Royal College of Music in Stockholm. In 2002 he won the first Sir Georg Solti Conductors Competition at the Alte Oper Frankfurt.

tomasnetopil.com

facebook.com/tomas.netopil.1

soprano

mezzo soprano

Andrea Danková was born in Lučenec, Slovakia. She studied at the Conservatory in Žilina and at the Academy of Music in Bratislava. She won the Toti Dal Monte competition and was subsequently invited to sing Micaela in Carmen at Teatro Comunale in Treviso under the baton of Peter Maag.

Winner of the 2002 Kathleen Ferrier Award, Scottish mezzo soprano Karen Cargill’s past and future highlights with her regular recital partner Simon Lepper include appearances at Wigmore Hall, the Concertgebouw Amsterdam, Kennedy Center Washington and this season, her New York recital debut at Carnegie Hall, as well as regular recitals for BBC Radio 3. With Simon, she recently recorded a critically acclaimed recital of songs by Alma and Gustav Mahler for Linn Records.

In 2007, she made her debut at La Scala Milan in the title role of Jenůfa, which she also sang at Teatro Real Madrid under conductor Ivor Bolton. She is one of the world’s most acclaimed Janáček-interpreters and has sung the title role in Katia Kabanova at: Teatro Colón (Buenos Aires, 2010), Opera National du Rhin Strasbourg, Staatstheater Stuttgart, Teatro real de Madrid and, most recently, Opéra de Dijon (2015). She made her debut at La Monnaie as Jenůfa in 2014. This season Andrea sings her first Tosca (title role) at Theater Graz. Her career highlights to date include Micaela (Carmen) at Teatro La Fenice and concert performances in Tokyo with Kent Nagano and Orchestre de L’Opera National de Lyon, Mimì (La bohème) also at Lyon, Santander and Cordoue; Liù (Turandot) and Amelia Grimaldi (Simon Boccanegra) with Daniele Gatti in Teatro Comunale di Bologna, Violetta (La traviata) in the new production by Franco Zeffirelli at Teatro Verdi in Busseto and Teatro Comunale Ravenna; concert performances of Julia in Dvořák’s Jacobin, with WDR Symphony Orchester Cologne, under Gerd Albrecht (also released on CD), and Wagnerian roles in Das Rheingold and Die Walküre at Teatro National de São Carlos in Lisbon. During her career she also appeared in numerous new Slovak National Theatre productions, including, among others, Mimì, Desdemona, Elvira, Micaela, Violetta, Amelia (A Masked Ball) and the title role in Verdi’s Luisa Miller.

Karen Cargill

Andrea Danková

Concerts in the 2014/15 season include Bach’s St Matthew Passion and Handel’s Messiah with the Philadelphia Orchestra; Berlioz’s Les nuits d’été with the Cleveland Orchestra; Elgar’s Sea Pictures with the Dresden Staatskapelle; Mahler’s Symphony No. 4 and Beethoven’s Symphony No. 9 with the London Symphony Orchestra. This year she makes her debut at the Salzburg Festival. Highlights on the opera stage this season include a return visit to the Metropolitan Opera, New York and return invitations to the Royal Opera House, Covent Garden and English National Opera. In 2013 Karen was appointed Associate Artist of the Scottish Chamber Orchestra. Past performances with the SCO have included Berlioz’s Les nuits d’été and Béatrice et Bénedict, Mahler Das Lied von der Erde and Wagner Wesendonck Lieder. Their recent Linn Records recording of Berlioz Les nuits d’été and La mort de Cléopâtre with Robin Ticciati was chosen as Gramophone magazine recording of the month in June 2013. Other highlights include several BBC Proms performances including Mendelssohn’s Elijah with Kurt Masur and the London Philharmonic Orchestra, and Constant Lambert’s The Rio Grande at the 2005 Last Night.

Andrea appears regularly on the concert stage.

London Philharmonic Orchestra | 7

Kor-Jan Dusseljee

Jochen Schmeckenbecher

tenor

baritone

Future engagements include Florestan (Fidelio) at Taiwan Philharmonic in July 2015 and Lilaque (Henze’s Boulevard Solitude) at Det Kongelige Teater Copenhagen in October 2015. Recent engagements include Froh (Das Rheingold) with Orchestra dell’Accademia Nazionale die Santa Cecilia, the title role of Otello at Israeli Opera, a Wagner project in Opernhaus Zürich, Wagner Gala in Aarhus, Denmark, and The Flying Dutchman in Hong Kong and Teatro Ponchielli Cremona and Bacchus (Ariadne auf Naxos) in Opéra de Toulon. Career highlights include opening the 2009/10 season with a series of Otello performances at Semperoper Dresden, his debut of Hermann (The Queen of Spades) Komische Oper Berlin and Teatro Regio Torino, where he was immediately invited back for Fidelio. The same year he sang Beethoven’s Symphony No. 9 with the NDR Sinfonieorchester Hamburg under the baton of Christoph von Dohnányi at the opening concert of the Schleswig-Holstein Musik Festival, also broadcast on television. Previous engagements include Weill’s Rise and Fall of the City of Mahagonny and The Queen of Spades at Komische Oper Berlin, and his successful debut as Lohengrin and Max (Der Freischütz) at Komische Oper Berlin. He has collaborated with several renowned conductors such as Arnold Östman, Hartmut Haenchen, and Valery Gergiev, and performed with international orchestras including Royal Concertgebouw, Amsterdam, Rotterdam Philharmonic, Scottish Chamber Orchestra, Staatskapelle Dresden and Bamberg Symphony Orchestra.

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Kor-Jan Dusseljee studied at Utrecht Academy and has attended the master classes of Elisabeth Schwarzkopf, Hartmut Höll and Mitsuko Shirai.

The German baritone Jochen Schmeckenbecher regularly performs major roles on leading opera and concert stages. Highlights this season include Musiklehrer (Ariadne auf Naxos) Faninal (Der Rosenkavalier), Pizarro (Fidelio) and Sprecher (The Magic Flute) at the Wiener Staatsoper, Peter (Hänsel und Gretel) in Paris and Alberich (Siegfried) in Barcelona and Leipzig. Future plans include performances at the Staatsopern Berlin and Vienna, Oper Frankfurt, Royal Opera House, Covent Garden as well as the Concertgebouw Amsterdam, the Philharmonie Paris and the Konzerthaus Vienna. Recent projects include Kurwenal (Tristan und Isolde) in Paris, Vienna and Lyon, Spielmann (Königskinder) in concert in Hamburg, and Alberich (Der Ring des Nibelungen) in Vienna, Frankfurt and Philharmonie Berlin. Other roles performed throughout Europe and the US include Alberich in London, Amfortas (Parsifal) in Frankfurt and Turin, Kolenaty (The Makropulos Case) in Salzburg and Paris, Pizarro in Dresden, the Four Villains (Tales of Hoffman) at the Volksoper Vienna, Faninal in San Francisco and Marquis de la Force (Dialogues des Carmelites ) at the Theater an der Wien and in Munich. At the Staatsoper Berlin he sang Klingsor (Parsifal), Frank (Die Fledermaus), Beckmesser (Die Meistersinger von Nürnberg), Faninal and Biterolf (Tannhäuser). He performed the role of Musiklehrer in Berlin, Dresden, Vienna, Milan and the Met New York, and the title role of Wozzeck in Barcelona, Madrid and Hamburg, where he also sang Beckmesser and Klingsor. In concert he has performed Cerha’s Baal Gesänge at the Konzerthaus Wien, Mauregato (Schubert’s Alfonso und Estrella) with the Berlin Philharmonic, Jesus in Bach’s St John Passion in Madrid, Des Knaben Wunderhorn in Bregenz, and Mahler’s Symphony No. 8 and Janáček’s Glagolitic Mass in Dallas. He sang Orest (Elektra) with the Gulbenkian Orchestra Lisbon and the Konzerthausorchester Berlin.

Catherine Edwards organ

Catherine Edwards pursues a varied career as pianist and organist, performing, broadcasting and recording as soloist, chamber pianist, accompanist and orchestral musician. She has been the principal keyboard player with the LPO since 1997 and plays regularly with chamber orchestras such as City of London Sinfonia, Britten Sinfonia, the English Chamber Orchestra and the Orchestra of St John’s Smith Square. As well as occasional appearances with the Orchestra of the Royal Opera House, the BBC Symphony, the Philharmonia and the Royal Philharmonic orchestras, she is also a frequent guest of the London Symphony Orchestra, appearing as soloist with the latter in performances of Saint-Saëns’s Organ Symphony and The Carnival of the Animals, Bartók’s Sonata for Two Pianos and Percussion, Reich’s Sextet, Stravinsky’s Les Noces and Janáček’s Glagolitic Mass. Her solo performances include BBC recordings, prize-winning CDs, appearances in London’s major concert halls, the Edinburgh, Aldeburgh, Cheltenham, Brighton and Verbier festivals and at the BBC Proms at the Royal Albert Hall. Her duo and chamber music experience with groups such as the Composers Ensemble, the Nash Ensemble, London Sinfonietta and Capricorn includes both standard and contemporary repertoire. She has worked closely with composers such as John Woolrich, John Adams, John Williams, Steve Reich, Michael Nyman, singers Anthony Rolfe-Johnson and Willard White, and in the dance field has performed with Second Stride, the Siobhan Davies Dance Company and the Richard Alston Dance Company.

The final concert in this year-long series

Wednesday 29 April 2015 | 7.30pm Rachmaninoff (arr. Butsko) Piano Works, Four Movements (arr. Jurowski) 10 Songs Symphony No. 3 Vladimir Jurowski conductor Vsevolod Grivnov tenor Rachmaninoff: Inside Out is presented in co-operation with the Serge Rachmaninoff Foundation.

lpo.org.uk/rachmaninoff

“

The sound Jurowski coaxed from the LPO was exquisite.” performance of The Miserly Knight Matthew Right, The Arts Desk, January 2015

“

Rachmaninoff’s Spring Cantata did credit to the LPO’s Rachmaninoff: Inside Out series.” Hilary Finch, The Times, February 2015, 4-stars

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.

London Philharmonic Orchestra | 9

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 more than 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. The Choir has had a busy season performing Mahler’s Symphony No. 2 under the Orchestra’s new Principal Guest Conductor Andrés Orozco-Estrada, Rachmaninoff’s The Bells with Vasily Petrenko and three performances with the Orchestra’s Principal Conductor and Artistic Advisor, Vladimir Jurowski, including works by Verdi, Stravinsky, Rachmaninoff, Enescu and Ravel. The Choir looks forward to performing works by Taneyev, Szymanowski and Brahms next season. The Choir appears regularly at the BBC Proms at the Royal Albert Hall, and 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 has been engaged by the BBC for all the ‘Doctor Who’ Proms and, in recent years, has

Sopranos Annette Argent; Jane Awdry; Tessa Bartley; Hilary Bates; Catherine Boxall; Hannah Boyce; Anisoara Brinzei; Laura Buntine; Whitney Burdge; Olivia Carter; Gemma Chance; Paula Chessell; Alana Clark; Emily Clarke; Sally Cottam; Harriet Crawford; Antonia Davison; Sarah Deane-Cutler; Victoria Denard; Lucy Doig; Philippa Drinkwater; Jessica Eucker; Rachel Gibbon; Lydia Grant; Jane Hanson; Sally Harrison; Carolyn Hayman; Jenni Kilvert; Liz Kingsmill; Judith Kistner; Olivia Knibbs; Ilona Lynch; Ros Mann; Janey Maxwell; Mariana Nina; Linda Park; Marie Power; Kathryn Quinton; Danielle Reece-Greenhalgh; Rebecca Schendel; Victoria Smith; Cathy Stockall; Vikki Sutcliffe; Tracey Szwagrzak; Susan Thomas; Julia Warner Altos Deirdre Ashton; Phye Bell; Caroline Bray; Sally Brien; Andrei Caracoti; Noel Chow; Liz Cole; Sheila Cox; Andrea Easey; Romaine Gerber; Kristi Jagodin; Marjana Jovanovic Morrison; Ildiko Kardos; Charlotte Kingston; Andrea Lane; Sang-Im Lee; Emma MacDonald; Marj McDaid; Kristen Mooy; Sophie Morrison; Rachel Murray; Angela Pascoe; Carolyn Saunders; Catherine Travers; Susi Underwood; Jenny Watson 10 | London Philharmonic Orchestra

given performances of Verdi’s Requiem, Liszt’s A Faust Symphony, Beethoven’s Missa Solemnis, Elgar’s The Apostles, Howells’s Hymnus Paradisi and Walton’s Henry V, the latter under the baton of Sir Neville Marriner who now holds the record at 90 years old as the oldest conductor to lead a Prom concert. This year, the Choir looks forward to performances of Sancta Civitas by Vaughan Williams with the Hallé Orchestra and Choir, under the London Philharmonic Choir’s President, Sir Mark Elder, as well as joining the BBC Symphony Orchestra and Chorus in performing Orff’s Carmina Burana. 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 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.

Tenors Scott Addison; Geir Andreassen; Tim Appleby; Nick Arratoon; Chris Beynon; Kevin Darnell; Robert Geary; Alan Glover; Peter Goves; Iain Handyside; Stephen Hodges; Patrick Hughes; Luke Phillips; Knut Olav Rygnestad; Keith Saunders; Jaka Škapin; Tony Wren; Martin Yates Basses Jonathon Bird; Peter Blamire; Geoff Clare; Bill Cumber; Phillip Dangerfield; Marcus Daniels; Leander Diener; Ian Frost; Paul Gittens; Peter Haselden; Mark Hillier; Stephen Hines; David Hodgson; Rylan Holey; Yaron Hollander; Steve Kirby; John Luff; Anthony McDonald; Richard Miller; John D Morris; John G Morris; Ashley Morrison; Will Parsons; Johan Pieters; Mike Probert; Fraser Riddell; Jonathan Riley; John Salmon; Tom Stevenson; Philip Tait; Alex Thomas; Trevor Watson; Hin Yan Wong; John Wood

Orfeó Català

Cor de Cambra del Palau de la Música Catalana

One of Spain’s top amateur choirs, Orfeó Català was founded in 1891 by Lluís Millet and Amadeu Vives to disseminate a Catalan and world choral repertoire and hone the artistic excellence of its performances. These values have marked its career up to the present day. Its home is the Palau de la Música Catalana, built between 1905 and 1908 and listed by UNESCO as a World Heritage Site.

The Cor de Cambra, the chamber choir of the Palau de la Música Catalana, is one of the most prestigious professional choirs in Spain. It was set up by Orfeó Català in 1990 with the mission of disseminating world choral music, fostering the revival of Catalan musical heritage and encouraging new works. Jordi Casas i Bayer was its director for the first 21 years. Since September 2011, Josep Vila i Casañas has filled this role.

Throughout its history the Orfeó has performed the most outstanding works in the choral repertoire and sung in Spanish premieres of works including Bach’s Mass in B Minor and The Seasons by Haydn. It has been conducted by leading figures throughout history on the international scene including Richard Strauss, Camille Saint-Saëns, Pablo Casals, Zubin Mehta, Frans Brüggen, Mstislav Rostropovich, Charles Dutoit, Lorin Maazel and Gustavo Dudamel, among others. Josep Vila i Casañas has been its director since 1998.

The Choir’s versatility has always been one of its most applauded qualities. Its repertoire includes composers from many periods, from the Renaissance to the 21st century, taking in formats ranging from a cappella to choral-orchestral works and opera. One of its priorities is to premiere works by contemporary composers. Its performances have earned it the Catalan government’s national music award that quickly led to work with top Catalan, Spanish and international orchestras. The quality of each of its members, of whom a very high vocal and artistic level is required, give the ensemble a potential which has enabled it to cross borders and become a leading international choir.

In June 2013 Orfeó Català performed Schoenberg’s Gurrelieder at Vienna’s Konzerthaus, alongside the Wiener Singakademie and conducted by Kent Nagano, and in July it performed Fauré’s Requiem with the Berliner Philharmoniker conducted by Sir Simon Rattle at the Palau de la Música Catalana. In February 2014 the Orfeó gave a concert at the Gulbenkian in Lisbon on the occasion of its reopening, and in January 2015 it performed at the Palau de la Música Catalana alongside the Orquesta Sinfónica Simón Bolívar de Venezuela, conducted by Gustavo Dudamel. Sopranos Tamar Aguilar; Elisenda Ardèvol; Carmen Berenguel; Ma del Mar Calvet; Aida Càmara; Mireia Carmona; Natàlia Casasús*; Sandra Castelltort; Beatriz Cordero; Ma Àngels Custal; Núria Custal; Araceli Esquerra*; Maria Teresa Estrada*; Míriam Garriga*; Ma Dolors Gea; Ma del Mar Giné; Lidia Guaràs; Marta Juanola; Iris López; Glòria Lorente*; Ma Angels Lorés; Imma Mostazo; Natalia Perez; Ma Lluïsa Sans; Iris Torregrossa; Núria Valdivieso; Mireia Valls Altos Cristina Arribas; Roser Banet; Cristina Blasi; Dolors Boatella; Marta Camón; Assumpta Cumí*; Conxa Fernández; Imma Garcia; Dolors Graupera; Toni Gubau*; Judith Hämmerling; Mariona Llobera*; Edith López; Anna Muñoz; Bel Nadal; Ariane Prüssner*; Magda Pujol*; Anna Rodés; Anna Rosés; Isis Royo; Gal·la Santiago; Marta Solé; Anna Takova; Montserrat Trias*; Gloria Vicens

It has been conducted by eminent conductors including Rene Jacobs, Jesús López Cobos, Kent Nagano, Sir Simon Rattle and Gustavo Dudamel. Since 2010, the ensemble has been a member of The European Network for Professional Chamber Choirs (TENSO). It has recorded for numerous record labels, and radio and television channels. Tenors Antoni Agramont; Lluc Bosque; Aniol Botines*; Pere Cabero; Josep Camós*; Marc Caralt; Xavier Cos; Jordi Ensenyat; Joan Francesc Folqué; Carles Gonzàlez; Jordi Gonzalez*; Pablo Larraz; Eloi Llamas*; Carles Masdeu; Bernat Orriols; Marc Rendón*; Màrius Rodrigo; Joan Sans Basses Paul Aitken; Esteban Ballestar; Mathieu Bosi; Marc Canals; Eduard Capell; Xavier Garcia-Moll; Albert Garriga; Esteve Gascón*; Guillem Gascón; Hirotoshi Kikuchi; Martí Marimon; Alex Martínez; Daniel Morales*; Albert Pàmies; David Pastor*; Joaquim Piqué*; Manuel Raventós; German de la Riva*; Jordi Teixidó; Albert Torrens * Members of the Cor de Cambra del Palau de la Música Catalana

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Programme notes

Speedread Works by three mavericks form tonight’s programme. Wagner’s elemental opera about the legend of The Flying Dutchman announced his maturity as a composer. To herald this new phase in his career, he wrote a squally overture, as vivid in its depiction of the drama’s maritime world as it is of its psychological tug-of-war. In later life Wagner referred to himself and his unique brand of music drama as the rightful heirs to Beethoven and his nine totemic symphonies, represented here by the Fourth. Although this B flat major work of 1806 begins in a

Richard Wagner

decidedly ominous mood, Beethoven soon unveils a brighter and more chirruping music. An air of celebration likewise characterises Janáček’s Glagolitic Mass, first heard in his adopted hometown of Brno in December 1927. Performed here in a reconstruction of the composer’s working version of the score, Janáček’s orchestral mass celebrates his love for his muse, Kamila Stösslová, and their imaginary wedding day among the pines of the spa town of Luhačovice, where they first met in 1917.

Overture, The Flying Dutchman

1813–83

Wagner began work on his drama about a Dutchman, condemned to sail the high seas until Judgement Day, in spring 1840. Having been resident in Paris for over a year, he was coming to realise that he would ultimately fail to conquer the French capital, so returned to Germany in 1842, with the completed score of The Flying Dutchman under his arm. Promised at first to the Hofoper in Berlin, the opera was eventually mounted in Dresden in January 1843, following the success of Rienzi in the Saxon capital. The Flying Dutchman did not, initially, repeat that triumph, though Wagner later came to think of it as his first mature opera. ‘From here,’ he wrote in 1851, ‘begins my career as poet and my farewell to the mere concoctor of opera-texts’.

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The piece opens with a thrilling seascape – the final music Wagner composed in November 1841. It recalls a treacherous journey to London that the composer had taken in 1839, when, during a period of rough weather, his ship had to find shelter near Sandviken in Norway. Wagner’s evocation of the storm opens with a rallying horn call, denoting the Dutchman, accompanied by surging gusts of chromaticism. This is followed by much calmer and cajoling music, associated with the hapless Senta, who resolves to perish with the eponymous sailor. The juxtaposition of their themes outlines the ensuing drama’s tug-of-war between duty and desire, concluding as Senta launches herself off a cliff, to be united in death with the Dutchman.

Ludwig van Beethoven 1770–1827

1806 was an extraordinary year for Beethoven. Despite lacking any immediate promise of public performance, he completed his Violin Concerto, the Fourth Piano Concerto, the second and third Leonore overtures, revisions to Fidelio and his Fourth Symphony, in addition to the three groundbreaking string quartets for the Russian diplomat Andrey Razumovsky. But it was in another aristocrat’s home, the Lobkowitz Palace, that two of these major new works, the Fourth Piano Concerto and the Fourth Symphony, had their premieres in March 1807. The Fourth Symphony capped what was, at the time, a complete survey of Beethoven’s symphonic output. Given the extra-musical import of the preceding ‘Eroica’ Symphony, with its original ‘Bonaparte’ soubriquet having been violently scratched from the title page, the Fourth Symphony might have seemed a little free and frothy in comparison. Yet within this unmistakably sunny work, there is a hint of the darkness-to-light of the Fifth that was to come in its wake. Beethoven begins his Fourth Symphony with the same distinctive descending third as at the opening to the Fifth. Although this introductory Adagio lacks the rhythmic impetus of that C minor work, the mood here

Symphony No. 4 in B flat major, Op. 60 1 Adagio – Allegro vivace 2 Adagio 3 Menuetto: Allegro vivace 4 Allegro ma non troppo

is decidedly ominous. Beethoven soon shows, however, that it is always darkest just before the dawn and what follows is a resolutely smiling Allegro. Some of the harmonic instability of that introduction nonetheless remains, prompting a vivid modulation to the distant key of B major at the end of the development section. If the bouncy first movement reminds some listeners of Mozart in opera buffa mode, then the serene melody of the Adagio will certainly recall one of his operatic arias. Here, however, its cantabile tune is accompanied by a rhythmic motif, becoming ever more insistent over the course of the movement. For all its ostensible contentment, there is clearly some unfinished business, as evinced by the timpani’s repeat of that crucial rhythmic cell before the final cadence. Even the frolicking Scherzo has at its core two noteworthy instabilities: between the accented two-beat theme and the prevailing triple-time metre; and between the home key of B flat major and the chromaticisms of the introduction which return here. These elements even brand the more relaxed trio. But, just as in the opening movement, Beethoven shrugs off these concerns with a last, scurrying Allegro ma non troppo.

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

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Programme notes continued

Leoš Janáček 1854–1928

Glagolitic Mass Andrea Danková soprano Karen Cargill mezzo soprano Kor-Jan Dusseljee tenor Jochen Schmeckenbecher baritone Catherine Edwards organ London Philharmonic Choir Orfeó Català Cor de Cambra del Palau de la Música Catalana

1 Úvod [Introduction] 2 Gospodi pomiluj [Kyrie] 3 Slava [Gloria] 4 Věruju [Credo] 5 Svet [Sanctus] 6 Agneče Božij [Agnus Dei] 7 Varhany sólo [Organ solo] 8 Intrada [Postlude] The final decade of Janáček’s life was one of unimpeded inspiration. Having struggled for years to find his place within Czech culture, he finally established a unique position with the first performance in Prague of his 1904 opera Jenůfa. This 1916 event began a happy last chapter, heralded by the independence of Czechoslovakia (as it became after World War I) and a new friendship with Kamila Stösslová, beginning in the Moravian spa town of Luhačovice. Having been as unlucky in matters of the heart as in his professional life, Janáček craved Stösslová’s friendship, writing hundreds of letters to her, until his death in 1928. Typically, it was to his muse that Janáček described the inspiration behind his Glagolitic Mass, shortly before the work’s premiere in Brno in December 1927. ‘Today I wrote a few lines about how I see my cathedral. I’ve set it in Luhačovice. Not bad, eh? Where else could it stand than there, where we were so happy! And that cathedral is high – reaching right into the vault of the sky. And the candles that burn there, they are the tall pine trees, and at the top they have lighted stars. And

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the bells in the cathedral, they’re from the flock of sheep. The cathedral’s the subject of my work for 5 December. But now. Into that cathedral two people enter, they walk ceremonially as if along the highway, all a carpet – a green lawn. And these two want to be married.’ The letter reveals much. Although educated at the Queen’s Monastery in Brno, Janáček had come to describe religion as ‘rituals, prayers, chants: death and nothing but death’. The Glagolitic Mass should not, therefore, be considered a confession of faith, but of his love for Stösslová and, in its employment of the old Slavonic version of the Ordinary of the Mass (first written in a ‘Glagolitic’, pre-Cyrillic script), his confidence in wider Slavic culture. Janáček began work on the piece in August 1926, writing a complete draft in just two weeks, followed by a long process revision. Changes continued to be made in the lead-up to the premiere in Brno and Janáček may also have made adjustments after the first performances, before the work was mounted in Prague in April 1928. In 1994, however, musicologist Paul Wingfield began to recreate the Mass as it had existed before Janáček’s many revisions. Some of Wingfield’s theses, including a suggestion that parts of the choral writing were too high for the singers in Brno or that three off-stage clarinets and four additional percussionists stretched resources too far, have been the subject of debate. His reconstruction of a ‘September 1927’ version of the score, edited afresh by Jiří Zahrádka, nonetheless offers an intriguing insight

into Janáček’s working methods. It certainly reveals a more complex version of the score, featuring concurrent metres, even more involved orchestrations (including intricate timpani parts) and a notably symmetrical ninepart form. In whatever version the work is performed, however, Janáček’s Mass is a resolute celebration of life, stirring into being during an orchestral introduction. After a petitioning Kyrie, the Gloria offers an energetic dance, announced by a beatific soprano. The Credo, the central pillar of Janáček’s ‘cathedral’ (though perhaps the most difficult text for a doubting composer to swallow), is manifestly theatrical. Following the chorus’s questioning ‘věruju’ (I believe) and the tenor soloist’s impassioned assurances, the movement builds to a wild

frenzy of Amens, described by Janáček as ‘the release of emotional turmoil’. The Sanctus combines these moods, starting serenely and then revealing more earthly delights in the hosannas. The Agnus Dei, on the other hand, is a sober reminder of the contrite Kyrie, though Janáček was keen to stress that his music was ‘without the darkness of the catacombs of the Middle Ages’. Finally, recalling his and Stösslová’s time together in Luhačovice, ‘where we were so happy’, the last two movements offer notably wordless celebrations, one for the organ and one for the full orchestra, as if the liturgy itself were unable to express Janáček’s joy at his fantasy marriage. Programme notes © Gavin Plumley

Glagolitic Mass text 1 Úvod

Introduction

2 Gospodi pomiluj Gospodi pomiluj, Chrste pomiluj, Gospodi pomiluj.

Kyrie Lord, have mercy, Christ, have mercy, Lord, have mercy.

3 Slava Slava vo vyšnich Bogu I na zeml’i mir Človekom blagovol’enja. Chvalim Te, Blagoslovl’ajem Te, Klanájem Ti se, Slavoslovim Te. Chvali vozdajem Tebĕ Velikyje radi slavy tvojeje. Bože, otce vsemogyj, Gospodi Synu jedinorodnyj, Isuse Chrste! Gospodi Bože, Agneče Božij, Synu Oteč!

Gloria Glory be to God on high, and on earth peace to men of good will. We praise Thee, We bless Thee, We adore Thee, We glorify Thee. We give Thee thanks for Thy great glory. God the Father almighty, only begotten Son of God, Jesus Christ. Lord God, Lamb of God, Son of the Father.

Please turn the page quietly

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Glagolitic Mass text continued

Vzeml’ej grechy mira, Pomiluj nas, Primi mol’enija naša! Sĕdej o desnuju Otca, Pomiluj nas! Jako Ty jedin svĕt, Ty jedin Gospod, Ty jedin vyšńij, Isuse Chrste. Vo slavĕ Boga Otca, So Svetym Duchom Vo slavĕ Otca Amin.

Who takest away the sins of the world, have mercy on us, receive our prayer. Who sittest at the right hand of the Father, have mercy on us. For Thou alone art holy, Thou alone art the Lord, Thou alone art most high, Jesus Christ. With the Holy Ghost, art most high in the glory of the Father. Amen.

4 Vĕruju Vĕruju v jedinogo Boga, Otca vsemoguštago, Tvorca nebu i zeml’i, Vidimym vsĕm i nevidimym. Amin. I v jedinogo Gospoda Isusa Chrsta Syna Bozija jedinorodnago, I ot Otca roždenago Prĕžde všech vĕk. Boga ot Boga, svĕt ot svĕta, Boga istinna, ot Boga istinnago, Roždena, ne stvor’ena, Jedinosužtna Otcu. Jímže vsja byše Iže nas radi človĕk I radi našego spasenja Snide s nebes I voplti se Ot Ducha Sveta Iz Marije devy.

Credo I believe in one God, the Father almighty, creator of heaven and earth, and of all things visible and invisible. Amen. And in one Lord Jesus Christ, the only begotten Son of God, born of the Father before all ages. God of God, light of light, true God of true God, begotten, not made, consubstantial with the Father by whom all things were made; Who for us men and for our salvation, came down from Heaven, and was incarnate by the Holy Ghost of the Virgin Mary.

Orchestral interlude Raspet že zany, Mučen i pogreben byst. I voskrse v tretij den Po pisanju. I vzide na nebo, Sĕdit o desnuju Otca. I paky imat priti sudit 16 | London Philharmonic Orchestra

He was crucified also for us, suffered, and was buried. And the third day He rose again, according to the scriptures, and ascended into Heaven, and sitteth at the right hand of the Father. And He shall come again with glory

Žyvym, mrtvym So slavoju, Jegože cĕsarstvju nebudet konca. I v Ducha Svetago, Gospoda i živototvoreštago, Ot Otca i Syna ischodeštago, S Otcem že i Synom kupno, Poklańájema i soslavima, I že glagolal jest proroky. I jedinu svetuju, Katoličesku i apostolsku crkov. I spovĕ daju jedino krščenje V otpuščenje grĕchov. I čaju voskrsenja mrtvych, I života buduštago vĕka. Amin.

to judge both the living and the dead, of whose kingdom there shall be no end. And in the Holy Ghost, the Lord and Giver of Life, proceeding from the Father and the Son. Who, together with the Father and the Son, is adored and glorified, who spoke by the prophets. And in one holy, Catholic and Apostolic Church. I confess one baptism for the remission of sins. And I look for the resurrection of the dead, and the life of the world to come. Amen.

5 Svet Svet, svet, svet! Gospod, Bog Sabaoth, Plna sut nebo, zeml’a, Slavy tvojeje! Blagoslovl’en gredyj Vo ime Gospodńe. Osanna vo vyšńich!

Sanctus Holy, holy, holy! Lord God of hosts, Heaven and earth are full of Thy glory! Blessed is He that cometh in the Name of the Lord. Hosanna in the highest!

6 Agneče Božij Agneče Božij, vzemlej grĕchy mira, Pomiluj nas!

Agnus Dei Lamb of God, who takest away the sins of the world, have mercy upon us!

7 Organ solo

Organ solo

8 Intrada

Postlude

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We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Neil Westreich William and Alex de Winton Simon Robey Victoria Robey OBE Bianca & Stuart Roden Julian & Gill Simmonds* Anonymous Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller The Jeniffer and Jonathan Harris Charitable Trust Mrs Philip Kan* Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett John & Manon Antoniazzi John & Angela Kessler Guy & Utti Whittaker * BrightSparks patrons. Instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

Principal Benefactors Mark & Elizabeth Adams Desmond & Ruth Cecil Mr John H Cook David Ellen Mr Daniel Goldstein Drs Frank & Gek Lim Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Mr Michael Posen Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Laurence Watt Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mrs A Beare David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Georgy Djaparidze Mr David Edgecombe Mr Timothy Fancourt QC Mr Richard Fernyhough Tony & Susan Hayes Michael & Christine Henry Malcolm Herring J. Douglas Home

Ivan Hurry Mr Glenn Hurstfield Per Jonsson Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Ms Ulrike Mansel Robert Markwick Mr Brian Marsh Andrew T Mills Dr Karen Morton Mr & Mrs Andrew Neill Tom & Phillis Sharpe Martin and Cheryl Southgate Mr Peter Tausig Simon Turner Howard & Sheelagh Watson Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: Accenture AREVA UK Berenberg British American Business Carter-Ruck Bronze: Appleyard & Trew LLP BTO Management Consulting AG Charles Russell Speechlys Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets Trusts and Foundations Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Bernarr Rainbow Trust

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The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Peter Carr Charitable Trust, in memory of Peter Carr The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Hinrichsen Foundation The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leche Trust London Stock Exchange Group Foundation Marsh Christian Trust The Mayor of London’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust The Ann and Frederick O’Brien Charitable Trust

Office for Cultural and Scientific Affairs of the Embassy of Spain in London Palazzetto Bru Zane – Centre de musique romantique française The Austin and Hope Pilkington Trust Polish Cultural Institute in London PRS for Music Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust Serge Rachmaninoff Foundation Romanian Cultural Institute Schroder Charity Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous

SOUND FUTURES DONORS By May 2015 we aim to have raised £1 million which will be matched pound for pound by Arts Council England through a Catalyst Endowment grant. This will create a £2 million endowment fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre. We are grateful to the following donors for their generous contributions to our Sound Futures campaign. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

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

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

London Philharmonic Orchestra | 19

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Neil Westreich

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Alison Atkinson Digital Projects Director

Alexandra Clarke Education and Community Project Manager

Matthew Freeman Recordings Consultant

Amy Sugarman PA to the Chief Executive / Administrative Assistant Finance David Burke General Manager and Finance Director David Greenslade Finance and IT Manager

Lucy Duffy Education and Community Project Manager

Public Relations Albion Media (Tel: 020 3077 4930)

Richard Mallett Education and Community Producer