London Philharmonic Orchestra concert programme for 28 Jan 2015 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

Southbank Centre’s Royal Festival Hall Wednesday 28 January 2015 | 7.30pm

Debussy Prélude à l’après-midi d’un faune* (10’) Magnus Lindberg Accused: three interrogations for soprano & orchestra (world premiere)† (30’) Interval Wagner Prelude to Act 1, Tristan und Isolde (13’) Scriabin The Poem of Ecstasy (22’)

Contents 2 Welcome LPO 2015/16 season launch 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Barbara Hannigan 9 Programme notes 12 Accused: texts 18 Programme notes continued 20 Next concerts 21 Rachmaninoff: Inside Out 22 Supporters 23 Sound Futures donors 24 LPO administration The timings shown are not precise and are given only as a guide.

Free pre-concert event 6.15–6.45pm | Royal Festival Hall

Vladimir Jurowski conductor Barbara Hannigan soprano * Please note change to advertised programme † Commissioned by the London Philharmonic Orchestra, Radio France, Gothenburg Symphony Orchestra, Toronto Symphony Orchestra, Cleveland Orchestra and Carnegie Hall. Concert generously supported by Victoria Robey OBE CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

New Composer in Residence Magnus Lindberg talks about his role with the Orchestra and his latest work, Accused, premiered this evening.

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. 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.

London Philharmonic Orchestra 2015/16 season launch Booking for our new season opens next Wednesday, 4 February: browse next season’s concerts now at lpo.org.uk or look out for your brochure in the post. To take advantage of priority booking, which is now open, become a Friend of the London Philharmonic Orchestra for as little as £50 a year. Call Kathryn Hageman on 020 7840 4212 or visit lpo.org.uk/support/memberships Highlights of next season include: Shakespeare400: 2016 marks the 400th anniversary of Shakespeare’s death, and in collaboration with other leading cultural organisations we present a series of concerts celebrating some of the wonderful music inspired by the great playwright, including works by Sibelius, Dvořák, Prokofiev, Strauss and Britten. The series culminates in a specially curated Anniversary Gala Concert directed by Simon Callow. Vladimir Jurowski, Principal Conductor and Artistic Advisor: We were pleased to announce recently that Jurowski’s celebrated partnership as Principal Conductor and Artistic Advisor with the LPO will carry on until at least 2018. He opens the season with the continuation of his Mahler symphony cycle with a performance of the Seventh Symphony, and resumes his recent exploration of Bruckner symphonies with a performance of the Third. Principal Guest Conductor: Andrés Orozco-Estrada: This season we welcome our new Principal Guest Conductor Andrés Orozco-Estrada. Colombian-born and trained in Vienna, he has already shown us the reason for his meteoric rise through the ranks and why everyone is talking about him. Brief Encounter: We present a screening of David Lean’s iconic film with live orchestra performing its famous soundtrack of Rachmaninoff’s Piano Concerto No. 2. Premieres: New music plays an integral part in every LPO concert season, and in 2015/16 we give premieres of works by our Composer in Residence Magnus Lindberg, Krzysztof Penderecki, Alexander Raskatov and Marc-André Dalbavie.

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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 Catherine Craig Thomas Eisner Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp Robert Pool Sarah Streatfeild Grace Lee Rebecca Shorrock Alina Petrenko Galina Tanney Robin Wilson Caroline Sharp Nilufar Alimaksumova Second Violins Victoria Sayles Guest Principal Kate Birchall Chair supported by David & Victoria Graham Fuller Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Floortje Gerritsen Dean Williamson Sheila Law John Dickinson Martin Hohmann Harry Kerr

Violas Przemyslaw Pujanek Guest Principal Cyrille Mercier Robert Duncan Gregory Aronovich Susanne Martens Benedetto Pollani Emmanuella Reiter Daniel Cornford Isabel Pereira Sarah Malcolm Pamela Ferriman Martin Fenn Stanislav Popov Richard Cookson

Piccolos Stewart McIlwham* Principal Marta Santamaria

Cellos Kristina Blaumane Principal Steffan Morris Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Elisabeth Wiklander Sue Sutherley Susanna Riddell Sibylle Hentschel Helen Rathbone George Hoult

Bassoons Rebecca Mertens Guest Principal Gareth Newman Laura Vincent

Double Basses Kevin Rundell* Principal Tim Gibbs Laurence Lovelle George Peniston Richard Lewis William Cole Laura Murphy Sebastian Pennar Kenneth Knussen Helen Rowlands Flutes Michael Cox Guest Principal Sue Thomas* Chair supported by Victoria Robey OBE Marta Santamaria Stewart McIlwham*

Oboes Ian Hardwick* Principal Alice Munday Rachel Harwood-White Cors Anglais Sue Böhling* Principal Clarinets Robert Hill* Principal Thomas Watmough Emily Harding

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 Stephen Nicholls Meilyr Hughes Duncan Fuller Jonathan Bareham Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann Nicholas Betts Co-Principal Daniel Newell David Hilton Toby Street

Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton David Whitehouse Bass Trombones 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 Barclay Tom Edwards Keith Millar Nigel Bates James Bower Harps Rachel Masters* Principal Lucy Haslar Piano Catherine Edwards Celeste Catherine Edwards Organ Cliodna Shanahan * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Meet our members: lpo.org.uk/players

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Sonja Drexler

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

Full marks to the London Philharmonic for continuing to offer the most adventurous concerts in London. The Financial Times, 14 April 2014 The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking ensembles in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. From September 2015 Andrés Orozco-Estrada will take up the position of Principal Guest Conductor. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since the Hall’s opening in 1951 and been Resident Orchestra since 1992. It gives around 30 concerts there each season with many of the world’s top conductors and

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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 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

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. © Thomas Kurek

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: lpo.org.uk/whats-on/season14-15.html

Barbara Hannigan soprano

Barbara Hannigan is simply superb – faultless pitching, crystal clear words, a shining tone and total empathy with the composer’s message.

BBC Music Magazine

Born and brought up in Canada, soprano Barbara Hannigan received her Bachelor and Master of Music degrees from the University of Toronto, studying with Mary Morrison. She continued her studies at the Royal Conservatory of the Hague with Meinard Kraak and privately with Neil Semer. A frequent guest of the Berlin Philharmonic, she has also appeared with most of the other leading orchestras worldwide, with such conductors as Vladimir Jurowski, Sir Simon Rattle, Pierre Boulez, Reinbert de Leeuw, Lorin Maazel, Esa-Pekka Salonen and Alan Gilbert. She made her own conducting debut in 2010 at the Théâtre du Châtelet in Paris with Stravinsky’s Renard. Recent conducting engagements include concerts with the Mahler Chamber Orchestra, the WDR Symphony Orchestra Cologne, the Prague Philharmonic Orchestra, L’Accademia Nazionale di Santa Cecilia and the Gothenburg Symphony Orchestra. Her conducting debut at the Amsterdam Concertgebouw was awarded The Netherlands’ prestigious Ovatie prize for best classical music concert of the season. Much sought after in contemporary music, Barbara Hannigan has devoted an extraordinary amount of her life to singing the music of our time, and has given over 80 world premieres. She has worked extensively with composers including György Ligeti, Pierre Boulez, Pascal Dusapin, Unsuk Chin, Gerald Barry, George Benjamin, Hans Abrahamsen and Henri Dutilleux, to name a few. Upcoming world premieres include the title character in Gerald Barry’s new opera on Alice in Wonderland, Ophelia in Brett Dean’s new opera on Hamlet, Sciarrino’s new work for soprano and orchestra, and a collaboration with fellow Canadian artist Owen Pallett.

As a singing actress, her operatic repertory includes Marie in an acclaimed production of Zimmermann’s Die Soldaten at the Munich Staatsoper; the world premiere of George Benjamin’s Written on Skin (role of Agnes), created for the Aix-en-Provence Festival and performed across Europe, including at the Royal Opera House, Covent Garden; and her highly praised debut as Berg’s Lulu at La Monnaie in Brussels. She has sung the title role in Stravinsky’s Le Rossignol, Gepopo/Venus in Ligeti’s Le Grand Macabre, Armida in Handel’s Rinaldo, Fiordiligi in Mozart’s Così fan tutte and Donna Anna in Don Giovanni, and will make role debuts as Mélisande and Poulenc’s La voix humaine in the coming seasons. She has worked with directors including Krzysztof Warlikowski, Katie Mitchell, La Fura dels Baus, Andreas Kriegenburg and Peter Greenaway. As a dancer/singer, she has performed with Sasha Waltz and Guests since 2011, as the title role in Matsukaze as well as in Dusapin’s opera Passion. For her performances in 2012 and 2013 Barbara was named Singer of the Year by Opernwelt magazine, and Musical Personality of the Year by the Syndicate of the French Press. Her Deutsche Grammophon recording of Dutilleux’s Correspondances with Esa-Pekka Salonen and the Orchestra of Radio France won a Gramophone Award in 2013. She was Artist in Residence at the ZaterdagMatinee of Amsterdam’s Concertgebouw (2013/14), Artistic Director of Finland’s 2014 Suvisoitto Summer Festival, and the ‘Artiste Etoile’ of the 2014 Lucerne Festival.

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Barbara Hannigan in Focus With her crystalline soprano voice and her inspiring conducting, Barbara Hannigan is a performer like no other. In May she joins Britten Sinfonia for two programmes featuring not only as soloist but also conductor.

STRAVINSKY & NEO-CLASSICISM

Wed 6 May 2015, 7.30pm Barbican

SONGS OF VIENNA

Thu 7 May 2015, 7.30pm Milton Court Box Office: 020 7638 8891 www.barbican.org.uk

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Programme notes

Speedread Magnus Lindberg, the London Philharmonic Orchestra’s newly appointed Composer in Residence, has made his international reputation with a series of brilliantly scored orchestral pieces. But his newest work, Accused, to be given its world premiere tonight, is his first to feature a solo voice. Its text is drawn from transcripts of three interrogations in Revolutionary France, East Germany and the presentday United States. Lindberg describes the work as having a dramatic aspect, which ‘comes from the struggle of the singer against the orchestra, rather like the individual pitted against the collective will of the state’.

Claude Debussy 1862–1918

Debussy’s Prélude à l’après-midi d’un faune is a key work in the development of Western music, in which the purposeful harmonic movement of the German tradition from Bach to Wagner is replaced by an apparently instinctive drifting from chord to chord in support of the all-important melodic line. The piece was suggested by the eclogue L’après-midi d’un faune by the French poet Stéphane Mallarmé, first published in 1876 – a languorous and sensual evocation of the dreams and meditations of a faun (a mythical creature, half man and half beast) in drowsy afternoon heat. Debussy planned in 1892 to write a set of three orchestral pieces based on the poem, a prelude, interlude and final paraphrase. But work on his opera Pelléas et Mélisande intervened, and he completed only the Prelude,

The new work is complemented by three orchestral expressions of ecstasy: the erotic reverie of Mallarmé’s half-human faun, depicted in Debussy’s epoch-making Prélude à l’après-midi d’un faune; the ecstasy of love transcending life and death in the equally ground-breaking Prelude to Wagner’s music-drama Tristan und Isolde; and the joy of the spirit achieving cosmic fulfilment in the Poem of Ecstasy by Alexander Scriabin (who died 100 years ago this April).

Piano Concerto No. 3 ind’un D minor, Prélude à l’après-midi fauneOp. 30 Simon Trpčeski piano 1 Allegro ma non tanto 2 Intermezzo: Adagio – 3 Finale: Alla breve

which was first performed in 1894. Mallarmé himself described Debussy’s piece as an ‘illustration ... which presents no dissonance with my text’. He then went on with a glowing procession of nouns which acts as a remarkable encapsulation of Debussy’s art: ‘it goes much further into the nostalgia and light with subtlety, malaise and richness.’

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Programme notes continued

Magnus Lindberg

Accused: three interrogations for soprano & orchestra (world premiere) Barbara Hannigan soprano

born 1958

The text begins on page 12. Magnus Lindberg’s output is large and varied, but includes relatively little vocal music: just one early song (Jag vill breda vingar ut, 1977–78), a couple of a cappella choral pieces (Untitled, 1978 and Songs from North and South, 1993) and one work for chorus and orchestra (Graffiti, 2009). Asked about the reasons for this, Lindberg explains that melody has little place in his musical thinking, which is mainly based on the interaction between harmony and rhythm, and that he does not primarily think of language as a musical phenomenon. The choice of texts for Accused suggests that the composer wanted to avoid embarking on a traditional song-cycle setting literary material. Instead, he has chosen three interrogations from different historical periods in three languages. Connected by the common theme of freedom of thought and expression, these dialogues show citizens in conflict with the interests of the state. Real life can be more dramatic than fiction. The first hearing consists of one question and answer. French Revolutionary idealist Anne-Josèphe Théroigne de Méricourt, an uneducated woman from a modest background, is accused of having threatened the Royal family. She insists the aim of her actions was to increase recognition of human rights. The trial process destroys her mental stability and she subsequently spends 20 years interned in a hospital until her death. The second interrogation takes place in East Germany in the early 1970s. An intellectual is grilled by a Stasi officer after being found in possession of Western magazines. The 11 repetitive questions and answers create a Kafkaesque feeling of an individual being ground down

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by an emotionless human machine, in a state where half of the population is spying on the other half. The last text is contemporary, and includes 40 questions and answers from a 2010 testimony against Bradley (now Chelsea) Manning in the WikiLeaks case. It features absurd dialogue in which Adrian Lamo betrays the trust of the naive Manning, a young man much like himself. Manning goes to prison for 35 years. Accused is a dramatic recitative in which the singer is omnipresent. She is the one who is accused, but also performs the part of the interrogator. The orchestra is the court, in counterpoint to – rather than accompanying – the soloist. Due to the orchestration the harmony sounds tonal, although Lindberg’s writing utilises the 12-tone technique. Typically for Lindberg, one can hear references to music of the past: most clearly here a fanfare-like trumpet gesture that pays tribute to Manuel de Falla’s ballet El amor brujo, first heard at the very opening of Accused and reappearing at structural key points of the work. Dramatically, Accused falls into four sections: the first interrogation, shorter than the other two, serves as an introduction; the second and third are of roughly equal length and form the main body of the work. The absurd argument of the third text leads nowhere, and the accused feels that whatever is said, it will not change the preconception of the prosecutor. The short final section becomes a vocalise to freedom: this song does not need any words. Programme note © Risto Nieminen (based partly on conversation with the composer)

An introduction to Magnus Lindberg Finnish conductor Magnus Lindberg became the London Philharmonic Orchestra’s Composer in Residence from the beginning of the 2014/15 season. As well as tonight’s world premiere of Accused, the season also features 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 LPO Young Composers scheme. He will also conduct the annual Debut Sounds concert on 10 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. 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

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

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Accused: three interrogations for soprano & orchestra texts

Extracts from the interrogation of Mademoiselle Théroigne de Méricourt, a victim of the turbulent events surrounding the French revolution; from the transcript of a Stasi interrogation in East Germany during the 1960s; and from the transcript of the trial of Bradley (now Chelsea) Manning (2013). I

Question : — Comment vous portez-vous, Mademoiselle Théroigne de Méricourt?

Question: — How are you feeling today, Mademoiselle Théroigne de Méricourt ?

Réponse : — Je vous remercie, Monsieur, pas trop bien. Depuis que je languis derriére ces murs, je suis désolée.

Answer: — Thank you sir, not very well. Ever since I have been languishing behind these walls, I have been beside myself. My ideas are what they are, and to contradict them, it is useless to use such grand words and gestures.

Mes idées sont ce qu’elles sont, et pour les contredire, il était inutile d’employer de si grands mots et de si grands gestes. La vérité est que je ne suis qu’une citoyenne, qu’une fervente patriote. Vous condamnez la république. C’est votre devoir. Moi je condamne la monarchie et je crois avoir raison. Aussi ne puis-je souhaiter qu’une chose. C’est la diffusion en Europe et dans tous les pays des principes de 89 et la reconnaissance de Droits de l’Homme. Et c’est ce que je fait! Quant a des crimes, je n’en ai pas commis, et nul ne pourrait produire la preuve de contraire.

The truth is that I am only a citizen, a fervent patriot. You condemn the republic: it is your duty. Yes, I condemn the monarchy, and I believe I have reason to do so. Furthermore, I can only wish for one thing: that the principles of 89 will spread throughout Europe and all countries and that the Rights of Man will be recognised. And this is what I am doing! As for the crimes, I have not committed them, and there is nothing that can prove otherwise.

Vernehmungsprotokoll

Record of Interrogation

Frage: Sie sagten in Ihrer Vernehmung am 21.9.1970 aus, von Irmgard Meyer 2–3 Exemplare der Zeitschrift „Der Spiegel“ erhalten zu haben. Warum haben Sie diese Exemplare entliehen?

Question: You stated in your interrogation on 21.9.1970 that you had received 2–3 copies of the magazine Der Spiegel from Irmgard Meyer. Why did you borrow these copies?

Antwort: Ich habe sie entliehen, weil sie mir von Frau Meyer angeboten wurden. Dazu erinnere ich mich, daß ich beim Durchblättern der Exemplare in Meyers Wohnung Artikel entdeckt hatte, die sich mit der Verbreitung von Rauschgift – das war aus dem Titelblatt bereits ersichtlich – und mit der Verfolgung und Ausrottung von brasilianischen Indianern befaßten. Diese Artikel wollte ich zu Hause weiterlesen.

Answer: I borrowed them because they were offered to me by Frau Meyer. And besides this, I remember that in flicking through the copies in the Meyers’ flat I had discovered that they dealt with the spread of drugs – you could see that on the title page – and with the persecution and extermination of Brazilian Indians. I wanted to read these articles further at home.

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Frage: Welche Artikel der genannten Exemplare haben Sie noch gelesen?

Question: Which articles in the copies referred to did you also read?

Antwort: Weitere Artikel sind mir nicht mehr erinnerlich.

Answer: I don’t recall any further articles.

Frage: Charakterisieren Sie Inhalt und Ziel der westdeutschen Zeitschrift „Der Spiegel“!

Question: Describe the content and aim of the West German magazine Der Spiegel!

Antwort: Ich sagte dazu bereits in meiner Vernehmung am 2.10.1970 aus. Ich hatte Gelegenheit, mich davon zu überzeugen, daß sich diese Zeitschrift kritisch mit innenpolitischen Fragen in Westdeutschland und mit politischen Fragen zahlreicher Staaten befaßt. Wie ich in der genannten Vernehmung schon aussagte, war ich auch davon überzeugt, daß es sich beim „Spiegel“ um keine Zeitschrift handelt, die einen ideologischen Kampf gegen die DDR führt.

Answer: I spoke about this earlier in my interrogation on 2.10.1970. I had the opportunity of convincing myself that this magazine deals critically with domestic policy issues in West Germany and with political issues in numerous other countries. As I already stated in the interrogation referred to, I was also convinced of the fact that Der Spiegel is not a magazine which is pursuing an ideological battle against the GDR.

Frage: Welche Artikel haben Sie in der Zeitschrift „Der Spiegel“ gelesen, die sich mit politischen Fragen in sozialistischen Ländern befaßten?

Question: Which articles have you read in the magazine Der Spiegel which deal with political questions in socialist countries?

Antwort: An derartige Artikel erinnere ich mich nicht.

Answer: I do not remember any articles of that kind.

Frage: In Ihrer Vernehmung am 2.10.1970 sagten Sie aus, daß in der Zeitschrift „Der Spiegel“ auch Veröffentlichungen erschienen, die sich kritisch mit verschiedenen gesellschaftlichen Verhältnissen in der DDR auseinandersetzten. Welche Artikel haben Sie dazu gelesen?

Question: In your interrogation on 2.10.1970 you stated that in the magazine Der Spiegel articles also appeared which critically discussed various social conditions in the GDR. Which articles have you read on this topic?

Antwort: An solche Artikel erinnere ich mich nicht.

Answer: I do not remember any such articles.

Frage: Wenn Sie sich an derartige Artikel nicht erinnern, warum sagen Sie dann aus, daß im „Spiegel“ Veröffentlichungen über gesellschaftliche Verhältnisse in der DDR gemacht wurden?

Question: If you do not remember any articles of that kind, why do you then state that in Der Spiegel disclosures were made about social conditions in the GDR?

Please turn the page quietly London Philharmonic Orchestra | 13

Texts continued

Antwort: Das war von mir eine Vermutung, die auf meiner Festellung beruht, daß im „Spiegel“ viele Abhandlungen über die verschiedensten Staaten enthalten waren. Deshalb ist es möglich, daß auch über die DDR berichtet wurde, was mir nicht konkret erinnerlich ist.

Answer: That was a supposition on my part, based on my realisation that Der Spiegel contained many essays on a wide variety of countries. Therefore it is possible that it also reported on the GDR, which I cannot recall in specific detail.

Frage: Wo befinden sich die von Ihnen entliehenen Zeitschriften „Der Spiegel“?

Question: Where are the copies of the Der Spiegel magazine which you borrowed to be found?

Antwort: Ich habe diese an Frau Meyer zurückgegeben. Etwas anderes ist mir nicht erinnerlich.

Answer: I have given these back to Frau Meyer. I cannot recall anything else.

Frage: Wie gelangten Meyers in Besitz der Zeitschriften „Der Spiegel“?

Question: How did the Meyers come to be in possession of the Der Spiegel magazines?

Antwort: Ich habe Meyers nicht danach gefragt.

Answer: I did not ask the Meyers about this.

Frage: Warum haben Sie Meyers nicht gefragt, woher sie diese Zeitschriften hatten?

Question: Why did you not ask the Meyers where they had obtained these magazines?

Antwort: Darauf weiß ich keine Antwort.

Answer: I am unable to answer this question.

Frage: In Ihrer Vernehmung am 21.9.1970 sagten Sie über die Herkunft der Exemplare der Zeitschrift „Der Spiegel“ aus. Äußern Sie sich dazu nochmals!

Question: In your interrogation on 21.9.1970 you testified about the origin of the copies of the Der Spiegel magazine. Comment on this again!

Antwort: Ich hatte vermutet, daß das Ehepaar Meyer durch ihre persönlichen Verbindungen zu Westberlinern in den Besitz der Zeitschriften „Der Spiegel“ gelangt sein könnten. Kurze Zeit nachdem Meyers in Berlin waren, habe ich Exemplare des „Spiegels“ bei ihnen in der Wohnung gesehen. Das ist lediglich eine Vermutung, die ich nicht näher begründen kann. Frau Meyer erzählte mir zu einem nicht mehr erinnerlichen Zeitpunkt des Jahres 1969, daß sie auf einer Durchreise in Prag im Jahre 1968 mehrere Exemplare „Der Spiegel“ erhalten und mit in die DDR gebracht habe. Soweit ich mich erinnern kann – sie reiste nach Budapest – fuhr sie

Answer: I had supposed that the Meyers might have ended up in possession of the Der Spiegel magazines through their personal contacts with West Berliners. A short time after the Meyers were in Berlin, I saw copies of Der Spiegel in their apartment. That is simply a supposition which I cannot substantiate any further. Frau Meyer explained to me on a date in 1969 which I no longer recall, that, on travelling through Prague in 1968, she had come by several copies of Der Spiegel and brought these with her into the GDR. As far as I recall – she travelled to Budapest – she travelled together with her husband. I do not know from whom and how

14 | London Philharmonic Orchestra

gemeinsam mit ihren Ehemann. Mir ist nicht bekannt, von wem und wie Frau Meyer diese Zeitschriften bekam und warum sie diese mit in die DDR brachte.

Frau Meyer obtained these magazines and why she brought them with her into the GDR.

Frage: Mit welchen Personen haben Sie Gespräche zu Veröffentlichungen des „Spiegels“ geführt?

Question: With which people have you had conversations about the articles in Der Spiegel?

Antwort: Darüber habe ich gelegentlich mit Irmgard Meyer gesprochen. Ich erinnere mich dabei an Artikel über die Verbreitung und Wirkung von Rauschgift in den USA und in Westdeutschland sowie über die Verfolgung von Indianern in Brasilien. Andere Artikel, über welche wir gesprochen haben könnten, sind mir nicht mehr erinnerlich.

Answer: I have occasionally spoken about these with Irmgard Meyer. I recall on those occasions articles about the spread and effect of drugs in the USA and in West Germany, and about the persecution of Indians in Brazil. I can no longer recall other articles which we may have spoken about.

Unterzeichnet Ich habe das Vernehmungsprotokoll selbst gelesen. Der Inhalt desselben entspricht in allen seinen Teilen den von mir gemachten Aussagen. Meine Worte sind darin richtig wiedergegeben.

Signed I have read the record of interrogation myself. The content of the latter corresponds in all parts with statements made by me. My words have been correctly reported in it. English translations © Elizabeth Robinson

III Question: Answer: Question: Answer: Question: Answer: Question: Answer: Question: Answer: Question: Answer: Question: Answer: Question: Answer: Question: Answer:

Mr Lamo, in early 2000 you committed a string of attacks against several large companies, correct? A string of offences, yes. In 2004 you pled guilty to computer fraud? Yes, I did. You were 22 years old at the time that you pled guilty? I was. Same age that PFC Manning was when he started the IM chat with you? That is also correct. Now the day after your initial chat with PFC Manning you contacted law enforcement because you were concerned about the type of information that PFC Manning had shared with you? Yes. You were also concerned for PFC Manning’s life? Yes. And based on your conversations you determined that PFC Manning was young? Yes. You believed he was ideologically motivated? That was my speculation, yes. You also saw him as well-intentioned? From his point of view, yes. Please turn the page quietly London Philharmonic Orchestra | 15

Texts continued

Question: You also saw him as idealistic? Answer: Yes, I did. Question: Now he told you during your conversation that he wanted to disclose this information for public good? Answer: That was an interpretation, yes. Question: Based on your conversation you saw something very familiar about that? Answer: Yes. Question: You saw a young 22 year old with good intentions, much like you were? Answer: That was correct. Question: You did not know PFC Manning, correct? Answer: Not personally, no. Question: The two of you never met in person? Answer: No. Question: He told you he believed he had made a huge mess? Answer: Yes, he did. Question: And he confessed that he was emotionally fractured? Answer: Yes. Question: He said he was talking to you as somebody that needed moral and emotional support? Answer: Yes. Question: At this point he said he was trying not to end up killing himself? Answer: That is also correct. Question: He described himself as a broken soul? Answer: Yes, he did. Question: He said his life was falling apart and he didnâ&#x20AC;&#x2122;t have anyone to talk to? Answer: Yes, he did. Question: And he said he was honestly scared? Answer: He also said that. Question: He told you that he had no one he could trust? Answer: Correct. Question: He ended up apologising to you on several occasions for pouring out his heart to you since you were total strangers? Answer: Correct. Question: Now at one point he asked you if you had access to classified networks and so on, incredible things, awful things, things that belonged to the public domain, not on some serverâ&#x20AC;&#x2122;s dark room in Washington, DC. What would you do? Do you recall him asking you that question? Answer: Yes, I did. Question: He told you he thought that the information that he had would have impact on the entire world? Answer: That is also correct. Question: He told you that he believed it was important that the information got out? Answer: Correct. Question: He told you he did not believe in good guys versus bad guys any more? Answer: Yes. Question: He told you he thought he was maybe too idealistic? Answer: Correct. Question: He told you that he was always a type of person that tried to investigate to find out the truth? Answer: Something I could appreciate, yes. Question: And based upon what he saw, he told you he could not let information just stay inside? Answer: Yes. Question: He told you that he was bothered that nobody seemed to care? Answer: Yes, he did. 16 | London Philharmonic Orchestra

Question: He told you that he preferred the truth? Answer: Yes, he did. Question: He also told you that he was maybe too traumatised to really care about the consequences to him? Answer: Yes. Question: He told you that he wasn’t brave. He was weak? Answer: Yes. Question: And he told you too, he was hoping that people would actually change if they saw the information? Answer: Correct. Question: And he told you that the information belonged in the public domain? Answer: Yes, he did. Question: At any time did he say he had no loyalty to America? Answer: Not in those words, no. Question: At any time did he say he wanted to help the enemy? Answer: Not in those words, no. Question: At any time did he say the American flag didn’t mean anything to him? Answer: No.

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

Recent releases on the LPO Label CD: Poulenc & SaintSaëns organ works Poulenc’s Organ Concerto and Saint-Saëns’s ‘Organ’ Symphony, recorded live at Royal Festival Hall. This sell-out concert in March 2014, conducted by Yannick Nézet-Séguin with organist James O’Donnell, launched the refurbished Royal Festival Hall organ, complete for the first time since 2005. The CD booklet includes full organ specification and an article on the history and refurbishment of the organ by its curator, Dr William McVicker. LPO-0081 £9.99 (1 Audio CD), including free postage

LP box set: Jurowski conducts the complete Brahms Symphonies These recordings – of live LPO concerts at Southbank Centre’s Royal Festival Hall between 2008 and 2011 – have previously been released as two separate LPO Label CDs, but are brought together in one package for the first time in this exclusive box set, which will be a must-have for lovers of Brahms, Jurowski fans and vinyl enthusiasts alike. LPO-LP906 £85.00 (4-LP box set), including free postage

Buy these and over 80 other titles from lpo.org.uk/recordings, the London Philharmonic Orchestra Ticket Office (020 7840 4242) and all good CD outlets.

London Philharmonic Orchestra | 17

Programme notes continued

Richard Wagner

Prelude to Act 1, Tristan und Isolde

1813–83

Wagner wrote his music-drama Tristan und Isolde, words and music, in less than two years between 1857 and 1859. He conceived it initially as a short, practical piece that could be staged without delay: at one point, he planned to have it translated into Italian and performed in Rio de Janeiro. But it grew into a work that was turned down by company after company, until the intervention of Wagner’s patron King Ludwig II of Bavaria enabled it to reach the stage in Munich in 1865. The reputation that it had acquired of being unperformable was due partly to the relatively large orchestral forces it required, and partly to the demands it made on the stamina of the two principal singers. But another significant reason was the advanced chromatic harmony of much of the score, restlessly prolonged without the reassuring repose of conventional cadential resolutions, and stretching the tonal system almost to its limits. This reflects the nature of the work, which Wagner called ‘a tale of endless yearning’. The libretto, adapted from a mediaeval legend, concerns the illicit love-affair of the Irish princess Isolde and the Cornish knight Tristan, which ends with the death of both. Wagner used this narrative to articulate his belief, gleaned from the philosophy of Schopenhauer, that love is the sole means by which we can attain a state of Nirvana, transcending everyday concerns and individual existence. Since at this level the story is essentially one of inner feelings rather than outer action, the orchestra takes on the predominant role of narration, expressing an intense eroticism that could hardly have been sung about on stage, let alone enacted. The Prelude to the opera establishes this orchestral role, and exemplifies the work’s restless chromaticism in the treatment of its two main themes. In the theatre, it introduces the first act, set on board Tristan’s ship,

18 | London Philharmonic Orchestra

which is bearing Isolde from Ireland to Cornwall for her wedding to King Marke – a journey during which Tristan and Isolde fall in love; but it also acts as a preface to the whole work. Wagner referred to the Prelude as Liebestod, or ‘Love-Death’, a title later transferred to the concert version of the closing scene with which the Prelude is often paired in concert performances. In a programme note, he described it as progressing ‘from the first timid lament of unappeasable longing … to the most terrible outpouring of hopeless love’, which ‘sinks back on itself, powerless, apparently extinguished in death’. The Prelude is performed tonight with the ‘concert ending’ that Wagner devised in December 1859 for concerts in Paris in January and February 1860. It replaces the familiar ‘open’ ending of the theatrical version with a brief passage from Act II and a transposed version of the end of the opera, thus closing the Prelude with what Wagner called ‘a dawning presentiment of redemption’.

Recommended recordings of tonight’s works Debussy: Prélude à l’après-midi d’un faune London Philharmonic Orchestra/Serge Baudo [Classics for Pleasure] Scriabin: The Poem of Ecstasy USSR State Symphony Orchestra/Evgeni Svetlanov [BBC Legends]

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 Andrei Bondarenko baritone | 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 | Vsevolod Grivnov tenor

Vladimir Jurowski conductor | Igor Levit piano

Wednesday 21 January 2015 | 7.30pm Wagner Das Rheingold (excerpts) Rachmaninoff The Miserly Knight (semi-staged) Vladimir Jurowski conductor | Annabel Arden director For full artist details see lpo.org.uk

Tickets: £9–£39 (Premium seats £65) See booking details on opposite page Rachmaninoff: Inside Out is presented in co-operation with the Serge Rachmaninoff Foundation.

London Philharmonic Orchestra | 21

Next LPO concerts at Royal Festival Hall

Saturday 7 February 2015 | 7.30pm

Wednesday 11 February 2015 | 7.30pm

Rachmaninoff: Inside Out

Rachmaninoff Three Russian Songs Rachmaninoff Spring Enescu Symphony No. 3*

Stravinsky Symphony in Three Movements Rachmaninoff Piano Concerto No. 2 Rachmaninoff The Bells (Choral Symphony)

Vladimir Jurowski conductor Andrei Bondarenko baritone London Philharmonic Choir Trinity Boys Choir

Vasily Petrenko conductor Jorge Luis Prats piano Anna Samuil soprano Daniil Shtoda tenor Andrei Bondarenko baritone* London Philharmonic Choir

* Supported by the Romanian Cultural Institute. Presented in co-operation with the Serge Rachmaninoff Foundation.

* Please note a change to the artist as originally advertised. Free pre-concert event | 4.00–6.00pm Royal Festival Hall Rex Lawson and Denis Hall of the Pianola Institute give a unique performance of Rachmaninoff piano rolls. The concert includes part of Rachmaninoff’s Cello Sonata, with cellist Johannes Moser.

Sunday 8 February 2015 | 12.00 noon Family Concert: The Pied Piper of Hamelin (world premiere) Suitable for children aged 7 and over. Vladimir Jurowski conductor Michael Morpurgo author/narrator Colin Matthews composer

Presented in co-operation with the Serge Rachmaninoff Foundation.

Free pre-concert event | 6.00–6.45pm Royal Festival Hall LPO musicians have been working with GCSE students from south-east London to explore the music of Rachmaninoff. They will perform their own new works for ensemble.

Friday 13 February 2015 | 7.30pm JTI Friday Series Rachmaninoff: Inside Out Rachmaninoff Piano Concerto No. 4 (original version) Shostakovich Symphony No. 4

Tickets £14–£18 adults, £7–£9 children

Vasily Petrenko conductor Alexander Ghindin piano

Commission generously supported by the PRS for Music Foundation.

Presented in co-operation with the Serge Rachmaninoff Foundation.

Free pre-concert event | 6.15–6.45pm Royal Festival Hall Vasily Petrenko explores the impact of Rachmaninoff on a Russian conductor.

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

20 | London Philharmonic Orchestra

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 | Vsevolod Grivnov tenor

Vladimir Jurowski conductor | Igor Levit piano

Tickets: £9–£39 (Premium seats £65) See booking details on opposite page Rachmaninoff: Inside Out is presented in co-operation with the Serge Rachmaninoff Foundation.

London Philharmonic Orchestra | 21

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 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 Mr Daniel Goldstein Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Mr Michael Posen Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mrs A Beare David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Georgy Djaparidze Mr David Edgecombe Mr Timothy Fancourt QC Mr Richard Fernyhough Tony & Susan Hayes Michael & Christine Henry Malcolm Herring J. Douglas Home Ivan Hurry Mr Glenn Hurstfield Per Jonsson

Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Dr Frank Lim Paul & Brigitta Lock Ms Ulrike Mansel Robert Markwick Mr Brian Marsh Andrew T Mills John Montgomery Dr Karen Morton Mr & Mrs Andrew Neill Tom & Phillis Sharpe Martin and Cheryl Southgate Professor John Studd Mr Peter Tausig Mrs Kazue Turner Simon Turner Howard & Sheelagh Watson Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK Berenberg 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

22 | London Philharmonic Orchestra

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 Rivers Foundation The R K Charitable Trust Serge Rachmaninoff Foundation Romanian Cultural Institute 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 The Viney Family 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 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 Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust Welser-Möst Circle John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Simon Robey Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas John & Manon Antoniazzi Georgy Djaparidze Mrs Mina Goodman and Miss Suzanne Goodman Robert Markwick & Kasia Robinski The Rothschild Foundation Haitink Patrons Mark & Elizabeth Adams Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Bruno de Kegel Mr Gavin Graham Moya Greene Tony and Susie Hayes Rose and Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin

Peter Leaver Peter Mace Mr David Macfarlane Geoff & Meg Mann Marsh Christian Trust Dr David McGibney Michael & Patricia McLaren-Turner John Montgomery Rosemary Morgan Paris Natar Mr Roger H C Pattison The late Edmund Pirouet Mr Michael Posen Sarah & John Priestland Mr Christopher Queree Mr Peter Russell Mr Alan Sainer Tim Slorick Pritchard Donors Lady Valerie Solti Ralph and Elizabeth Aldwinckle Timothy Walker AM Michael and Linda Blackstone Laurence Watt Business Events Sydney Mr R Watts Lady June Chichester Des & Maggie Whitelock John Childress & Christiane Wuillamie Christopher Williams Lindka Cierach Peter Wilson Smith Paul Collins Victoria Yanakova Mr Alistair Corbett Mr Anthony Yolland David Dennis Mr David Edgecombe And all other donors who wish to David Ellen remain anonymous Mr Timothy Fancourt QC Karima & David G Mr Daniel Goldstein Mr Derek B. Gray Mr Roger Greenwood Rebecca Halford Harrison Honeymead Arts Trust Mrs Dawn Hooper Rehmet Kassim-Lakha Mr Geoffrey Kirkham Diana and Allan Morgenthau Charitable Trust Dr Karen Morton Ruth Rattenbury Sir Bernard Rix Kasia Robinski David Ross and Line Forestier (Canada) Carolina & Martin Schwab Tom and Phillis Sharpe Dr Brian Smith Mr & Mrs G Stein Miss Anne Stoddart TFS Loans Limited Lady Marina Vaizey Ms Jenny Watson Guy & Utti Whittaker

London Philharmonic Orchestra | 23

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Neil Westreich * Player-Director Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Alison Atkinson Digital Projects Director

Alexandra Clarke Education and Community Project Manager

Matthew Freeman Recordings Consultant

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

Lucy Duffy Education and Community Project Manager

Public Relations Albion Media (Tel: 020 3077 4930)

Richard Mallett Education and Community Producer