London Philharmonic Orchestra Brighton 27 Sep 2014 concert programme by London Philharmonic Orchestra

Brighton Dome 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

Brighton Dome Concert Hall Saturday 27 September 2014 | 7.30pm

Rachmaninoff The Isle of the Dead (19’) Prokofiev Violin Concerto No. 1 in D major (22’) Interval Rachmaninoff Symphonic Dances (35’)

Programme £2.50 Contents 2 3 4 5 6 7 10 11 12

Welcome LPO 2014/15 season On stage tonight About the Orchestra Vladimir Jurowski Elena Tanski/ Leader: Pieter Schoeman Programme notes Orchestra news Supporters LPO administration

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

Vladimir Jurowski conductor Elena Tanski violin

In co-operation with the Serge Rachmaninoff Foundation

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

Ticket Office: 01273 709709 brightondome.org

Welcome

Welcome to Brighton Dome Chief Executive Andrew Comben We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following: LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks. SMOKING Brighton Dome is a no-smoking venue. INTERVAL DRINKS may be ordered in advance at the bar to avoid queues. PHOTOGRAPHY is not allowed in the auditorium. RECORDING is not allowed in the auditorium. MOBILES, PAGERS AND WATCHES should be switched off before entering the auditorium. Thank you for your co-operation.

The concert at Brighton Dome on 27 September 2014 is presented by the London Philharmonic Orchestra with assistance from Brighton Dome.

London Philharmonic Orchestra 2014/15 season at Brighton Dome Pick up a season brochure as you leave the concert tonight, call 020 7840 4242 to request a copy, or browse the season online at lpo.org.uk/brighton

‘This is some of the best music you will hear in Brighton, full stop, and I cannot wait for their next outing to the seaside.’ Howard Young, Brighton.co.uk

Saturday 29 November 2014 | 7.30pm Beethoven Violin Concerto Brahms Symphony No. 1 Aziz Shokhakimov conductor Dmitri Berlinsky violin Saturday 17 January 2015 | 7.30pm Humperdinck Prelude, Hansel and Gretel Chopin Piano Concerto No. 2 Dvořák Symphony No. 8 Rory Macdonald conductor Lambis Vassiliadis piano Saturday 28 March 2015 | 7.30pm Tchaikovsky Romeo and Juliet (Fantasy Overture) Elgar Cello Concerto Rimsky-Korsakov Scheherazade

Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England. Brighton Dome is managed by Brighton Dome and Brighton Festival, which also runs the annual threeweek Brighton Festival in May. brightondome.org brightonfestival.org

2 | London Philharmonic Orchestra

Jaime Martín conductor Andreas Brantelid cello Tickets £10–£27.50 (Premium seats £32.50) Box Office 01273 709709 Book online at brightondome.org There is a £2 per order charge for online and telephone bookings. Additional postage of 50p also applies if required. There is no charge for booking in person.

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

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

Robert Pool Yang Zhang Grace Lee Rebecca Shorrock Alina Petrenko Galina Tanney Caroline Frenkel 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 Marie-Anne Mairesse Ashley Stevens Harry Kerr Stephen Stewart Elizabeth Baldey

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Susanne Martens Benedetto Pollani Laura Vallejo Michelle Bruil Isabel Pereira Martin Fenn Sarah Malcolm Cellos Kristina Blaumane Principal Pei-Jee Ng Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Tom Walley Sebastian Pennar Flutes Juliette Bausor Guest Principal Sue Thomas*

Oboes Ian Hardwick Principal Lucie Sprague Cor Anglais Sue Böhling Principal Chair supported by Julian & Gill Simmonds

Clarinets James Burke Guest Principal Emily Meredith Bass Clarinet Paul Richards Principal Alto Saxophone Martin Robertson Bassoons Gareth Newman Principal Laura Vincent Contrabassoon Claire Webster Horns David Pyatt* Principal Chair supported by Simon Robey

Stewart McIlwham*

John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller Jason Koczur

Piccolo Stewart McIlwham* Principal

Trumpets Nicholas Betts Principal Anne McAneney*

Chair supported by the Sharp Family

Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

Matthew Knight 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

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

Chair supported by Geoff & Meg Mann

Robin Totterdell Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert: Sonja Drexler

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film 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, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The Orchestra’s current Principal Conductor is Vladimir Jurowski, appointed in 2007. From September 2015 Andrés Orozco-Estrada will take up the position of Principal Guest Conductor. The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It also has flourishing residencies in Brighton and Eastbourne, and in summer plays for Glyndebourne Festival Opera where it has been Resident Symphony Orchestra for over 50 years. Touring abroad forms a significant part of the Orchestra’s schedule: highlights of the 2014/15 season include appearances across Europe (including Iceland) and tours to the USA (West and East Coasts), Canada and China.

The London Philharmonic Orchestra broadcasts regularly on television and radio. It also works with the Hollywood and UK film industries, recording soundtracks for blockbusters including the Oscarwinning score for The Lord of the Rings trilogy. In 2005 it established its own record label. 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 maintains an energetic programme of activities for young people including the BrightSparks schools’ concerts and FUNharmonics family concerts. 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 podcasts, the Orchestra has a lively presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

4 | London Philharmonic Orchestra

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).

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

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.

London Philharmonic Orchestra | 5

Elena Tanski

Pieter Schoeman

violin

leader

Concert tours with renowned orchestras such as the Beethoven Orchestra Bonn, Armenian State Youth Orchestra, Dubrovnik Symphony Orchestra, Junge Philharmonie Salzburg and University Orchestra of the Mozarteum in Salzburg have taken Elena to the major concert halls of America, Italy, Austria, Slovenia, Switzerland, Germany and Denmark. Elena has also performed as a soloist at numerous prestigious festivals and venues: the Großes Festspielhaus, Salzburg; the Casinol, Basel; the Beethovenhalle, Bonn; the Beethoven Festival, Warsaw; and the opening concert of the Salzburg Festival, televised by ORF. She recently performed Khatchaturian’s Violin Concerto in São Paulo, Brazil. She has also worked with renowned musicians such as František Jánoška, Fazıl Say, Tibor Kováč, Shkelzen Doli, Olga Sitkovetsky and Alexey Zuev. Elena currently plays a G.B. Guadagnini violin from 1739. facebook.com/ElenaTanskiViolinist

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

Born in Salzburg, Austria, in 1992, Elena Tanski grew up in a family of pianists. After two years of piano lessons, she discovered her passion for the violin and switched instruments. Due to her extraordinary talent she was accepted into a class for highly talented children at the Universität Mozarteum at the age of just six. Elena was fortunate to be taught from early on by some of the best teachers in the world such as Helmut Zehetmair, and most recently at the Royal Academy of Music in London by Igor Petrushevski and Jack Liebeck.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied 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.

Programme notes

Speedread When a work by Rachmaninoff appears on a concert programme today, it is usually one of his piano concertos or symphonies. Tonight’s concert puts the focus on the most successful of his tone-poems – a brilliantly controlled piece whose sombre mood was inspired by a popular painting of the day – and on the Symphonic Dances, his last completed work and

Serge Rachmaninoff

a bold confrontation with mortality which maintains its exuberance and colour throughout. In between comes a work by a younger Russian; Prokofiev’s First Violin Concerto was composed when he was known as a brash young iconoclast, yet is a piece whose intense lyrical beauty and gentle playfulness caught out its first listeners, and can still surprise today.

The Isle of the Dead, Op. 29

1873–1943

‘I have aged terribly. I am very tired and terribly afraid that I will soon go to the Devil.’ Whether or not Rachmaninoff’s feelings on New Year’s Day 1909, conveyed in a letter to a friend, were anything more than seasonal blues, it was not long before he rallied: by the middle of April he had completed his most convincing and successful orchestral tone-poem, Ostrov myortvykh (‘The Isle of the Dead’), and on 1 May he conducted the premiere in Moscow. Yet maybe something of those gloomy thoughts remains in the new work. The idea for it came from a painting of the same name from the 1880s by the Swiss symbolist Arnold Böcklin, which shows a steep-sided, rocky island dotted with sepulchral openings and (like many a southern European cemetery) cypress trees. The painting was a popular one at the time, and had already inspired two tone-poems by lesser composers, as well as finding its way into Strindberg’s play The Ghost Sonata. A small boat is shown apparently approaching or returning from the island, bearing a standing figure dressed in white and rowed by a dark-clad oarsman. Böcklin offered no explanation of these figures, but to associate them respectively with a recently departed soul and Charon, the boatman of Greek mythology

who conducted the dead to Hades, seems obvious. Interestingly, Rachmaninoff’s first view of the painting would have been even more stygian than the painter intended; a friend had shown him a reproduction of it, and when the composer later saw the real thing he said not only that he preferred it in black and white, but that had he seen the original first he might not have thought of writing the piece at all. The piece begins with a quiet and sinister ostinato in 5/8, suggestive of the slow rhythm of the boatman’s oars, to which melodic fragments are gradually added in a build to a climax. Many of these phrases are related to the plainchant melody associated with the Dies irae section of the Latin Requiem that would feature again in Rachmaninoff’s music (as we shall see later in tonight’s concert). There is a contrasting middle section in a more settled 3/4 metre: the composer himself declared that it ‘did not refer to the painting’, and that it should be played ‘with more excitement and passion ... First death, then life’. Nevertheless, it is the initial mood that, following the most explicit reference to the Dies irae yet (low on clarinet and tremolo violins) and a short consolatory melody passed down through the woodwind, returns to end the work.

London Philharmonic Orchestra | 7

Programme notes continued

Sergei Prokofiev 1891–1953

When Prokofiev completed the first of his two violin concertos in 1917 – an especially busy year for him which also saw work on the Third Piano Concerto, the Third and Fourth piano sonatas, the opera The Love for Three Oranges and the ‘Classical’ Symphony among other works – he was largely known to the public as an iconoclastic composer of the near-brutalist stamp, as displayed in the Scythian Suite and some of his earlier piano pieces. The Concerto, however, which had begun life two years earlier as a less ambitious ‘concertino’, showed a very different side of the 26-year-old composer, one that is well recognised today but at the time was virtually unknown to the world. For this is a work of exquisite, at times haunting, lyricism. So contrary was the work to what was expected, indeed, that it took six years for Prokofiev to get it performed, and even when it was finally premiered, in Paris under the baton of Serge Koussevitsky in 1923, no established soloist could be found to take it on, and it had to be played by the leader of the orchestra. This seems all the more extraordinary considering the long and drowsily

Violin Concerto No. 1 in D major, Op. 19 Elena Tanski violin 1 Andantino 2 Scherzo: Vivacissimo 3 Moderato – Andante

meditative tune with which the first movement opens, surely a gift to any violinist. A second theme, initiated by the cellos, is more angular, and the central development section of the movement edges the music further towards the grotesque. But after a brief chordal solo – perhaps the nearest the violin comes to a cadenza in this Concerto – and a gentle waft of string tremolandi, the magically rescored recapitulation of the first theme takes the music to a new level of diaphanous beauty. The middle movement is a Scherzo, fast and witty, and cast in a finale-like rondo form in which three statements of a freely running main theme are separated by more sluggish episodes, both of whose attempts to rein in the forward momentum are politely but firmly pushed aside. The Concerto ends with another predominantly lyrical movement, though one with an ebb and flow so skilfully managed that it is with perfect naturalness that the first movement’s main theme slides in at the end to round things off.

Interval – 20 minutes A bell will be rung a few minutes before the end of the interval.

8 | London Philharmonic Orchestra

Serge Rachmaninoff

Symphonic Dances, Op. 45

At first glance, the title Symphonic Dances might seem to indicate a lighter approach from a composer known for writing four piano concertos and three symphonies. Perhaps Rachmaninoff himself was aware of that possibility when he came up with it as an alternative to his even more vague-sounding original choice: Fantastic Dances. Yet this half-hour, three-movement work, the last he wrote, is not only one of his finest and most substantial creations, but one heavy with meaning. Composed in America in 1940 and offered to Eugene Ormandy and The Philadelphia Orchestra (who had recently given a major retrospective of his music), it seems the work of a man who is aware that it may be his last, and has chosen to use it both to look back over his creative life and express something of his relationship with death. The messages are clearly there, in the self-quotations and the referencing once more of the Dies irae theme already used in The Isle of the Dead (and more recently in the Rhapsody on a Theme of Paganini). That what they are telling us is difficult to interpret only makes the work more fascinating; the one direct clue we have to Rachmaninoff’s inspiration comes from a conversation with the choreographer Mikhail Fokine, in which he revealed that the three movements represented Midday, Twilight and Midnight respectively.

at its premiere in 1897 and not been heard in public since. We can only guess at Rachmaninoff’s reasons for resurrecting it here – was it a recollection of the traumatic event or of the youthful inspiration that lay behind the Symphony itself?

Midday, then, is a three-part structure, in which a bold, stomping opening theme led by the strings gives way to a more serene and richly melodic middle section lent distinction by the only appearance in any Rachmaninoff composition of a saxophone. The material of the first section then returns, but towards the end of the movement the air clears and a brief but broad, lush new theme appears in the strings. No-one in the audience at the premiere would have known it, but this was a reference to the motto theme from Rachmaninoff’s First Symphony, the work that had received a critical mauling

1 Non allegro 2 Andante con moto (Tempo di valse) 3 Lento assai – Allegro vivace

Twilight is a waltz, the aggressive opening brass figure notwithstanding. Berlioz, Tchaikovsky and Mahler had all composed symphonic waltzes in the past, and Rachmaninoff’s late example inhabits much the same world as theirs. Indeed, it is hard to escape the feeling that this is some kind of Totentanz, haunted by shades and ending in a spectral rush to silence. The element of macabre is enlarged upon in the final, Midnight movement, which makes prominent thematic use of the Dies irae; the fact that it is related to the First Symphony theme may or not be a coincidence, but it is certainly hard to ignore. Again the structure is tripartite, with dynamic outer sections enclosing a warmly romantic central panel. As the movement moves towards its conclusion, the Dies irae increasingly does battle with another chant theme, this time derived from the Russian Orthodox liturgy. At the end it is this newer chant, which Rachmaninoff had used in 1915 in his setting of the All-Night Vigil and which was associated with the words ‘Blessed be the Lord’, that wins the day. Rachmaninoff wrote the word ‘Alliluya’ into the score at the vital moment; was he anticipating to his own victory over Death? Programme notes © Lindsay Kemp

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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 this Monday 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. Just a week later, on 9 October, the Orchestra and Jurowski jet off again, this time to California. 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). 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 priced £9.99, including free postage and packaging. It is available from lpo.org.uk/recordings, the London Philharmonic Orchestra Box Office (020 7840 4242) and all good CD outlets. It is also available to download or stream online via iTunes, Spotify and others.

Box Office 01797 229 049 “You promised us

13-31 October 2014

world class performers & you delivered!”

Festival highlights include orchestra performances by the

Battle Festival Sinfonia

FRIDAY 24th A Sussex Legacy Elgar, Vaughan Williams, Butterworth SATURDAY 25th Welcome to Uke Town with Sara Spade & the Noisy Boys featuring CBeebies’ Katy Ashworth Friends, Family & Rivalry Bach, Handel, Telemann SUNDAY 26th Look, Stranger Utter Jazz featuring Anton Lesser Adopted Sons Haydn, Mozart, JS Bach, Clementi

www.BattleFestival.co.uk

10 | London Philharmonic Orchestra

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 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

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

London Philharmonic Orchestra | 11

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