London Philharmonic Orchestra concert programme 29 & 30 Nov 2014 by London Philharmonic Orchestra

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 29 November 2014 | 7.30pm

Programme £2.50

Congress Theatre, Eastbourne Sunday 30 November 2014 | 3.00pm

2 Welcome 3 On stage 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Aziz Shokhakimov 7 Dmitri Berlinsky 8 Programme notes 10 Brahms on the LPO Label 11 Next concerts 12 Orchestra news 2014/15 Eastbourne Appeal 13 Rachmaninoff: Inside Out 14 Supporters 15 Sound Futures donors 16 LPO administration

Beethoven Violin Concerto in D major (42’) Interval Brahms Symphony No. 1 in C minor (45’)

Contents

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

Aziz Shokhakimov conductor Dmitri Berlinsky violin

* supported by the Tsukanov Family Foundation † supported by Neil Westreich CONCERTS PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH BRIGHTON DOME AND EASTBOURNE BOROUGH COUNCIL

Saturday 29 November 2014

Sunday 30 November 2014

Welcome to Brighton Dome

Welcome to the Congress Theatre, Eastbourne

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 29 November 2014 is presented by the London Philharmonic Orchestra with assistance from Brighton Dome.

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

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Artistic Director Chris Jordan General Manager Gavin Davis

Welcome to this afternoonâ&#x20AC;&#x2122;s performance by the London Philharmonic Orchestra. We hope you enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones and watch alarms are switched off during the performance. Thank you. We are delighted and proud to have the London Philharmonic Orchestra reside at the Congress Theatre for the 18th year. Thank you, our audience, for continuing to support the concert series. Without you, these concerts would not be possible. We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email theatres@eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

On stage

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Ji-Hyun Lee Chair supported by Eric Tomsett

Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Yang Zhang Maeve Jenkinson Nilufar Alimaksumova John Dickinson Ian Watson Miranda Allen Suzannah Quirke Gordon MacKay† Erzsébet Rácz† Second Violins Jeongmin Kim Principal Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Ashley Stevens Sheila Law Nicole Stokes Naomi Anner Alison Strange† Georgina Leo†

Violas Jon Thorne Guest Principal Gregory Aronovich Benedetto Pollani Sarah Malcolm Martin Fenn Linda Kidwell Richard Cookson Fay Sweet Martin Wray† Emma Sheppard† Cellos Steffan Morris Guest Principal Francis Bucknall Laura Donoghue Santiago Carvalho‡ Elisabeth Wiklander Susanna Riddell Sue Sutherley† Sibylle Hentschel† Double Basses Laurence Lovelle Principal Charlotte Kerbegian Ben Wolstenholme Kate Addis Laura Murphy† Christina Cooper†

Flutes Katherine Bryan Guest Principal Sue Thomas*

Trumpets Nicholas Betts Principal Robin Totterdell

Chair supported by Victoria Robey OBE

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

Oboes David Theodore Guest Principal Jenny Brittlebank

David Whitehouse Bass Trombone Lyndon Meredith Principal

Clarinets Thomas Watmough Principal Emily Meredith

Timpani Barnaby Archer Guest Principal

Bassoons Gareth Newman Principal Ide Ni Chonaill

* Holds a professorial appointment in London

Contrabassoon Rachel Simms Horns Mark Vines Principal Martin Hobbs James Pillai Alex Wide Mark Bennett

† 29 November concert only ‡ 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 these concerts: An anonymous donor Andrew Davenport Sonja Drexler Friends of the Orchestra Geoff & Meg Mann Simon Robey

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The LPO’s playing throughout was exceptional in its warmth, finesse and detail. The Guardian, January 2013 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

Aziz Shokhakimov conductor

Shokhakimov showed his deft skill at balancing the sections of the orchestra while building overall momentum ... The crowd awarded their new conducting hero and re-energized the orchestra with a rousing standing ovation. Winnipeg Free Press, October 2014 (Brahms Symphony No. 4)

Aziz Shokhakimov was born in Tashkent, into a musical family. Shortly after entering a specialist music school, where he focused on the violin at first, he began conducting and vocal studies. He made his conducting debut at the age of 13 with the National Symphony Orchestra of Uzbekistan, followed by an appearance aged 14 with the National Opera Theatre. Aziz first burst onto the international scene at the 2010 Mahler International Conducting Competition, where he received Second Prize: ‘The set repertoire, with Mahler’s earnest Fourth Symphony at its core, had already given an edge to participants who combined intense focus with a strong ability to structure rehearsals. Shokhakimov commanded the orchestra in an old-world manner.’ (The Financial Times) In early 2011 the young maestro made debuts with the Filarmonica del Teatro Comunale di Bologna, Sinfonia Varsovia (Poland) and the Dresden Staatskapelle, performing works by Beethoven and Lera Auerbach. The Sächsische Zeitung wrote: ‘The Finale [of Beethoven’s Symphony No. 1] was striking in its unleashing of undreamed-of energy. Many only scratch the surface with excessive tempo, but here there was real depth.’ The following season included concerts with the Houston, Pacific and Oregon symphony orchestras as well as the Stuttgart Radio Symphony, Dusseldorf Symphony and La Verdi orchestras, the Deutsche Kammerphilharmonie Bremen, and at the historic La Fenice theatre in Venice. This weekend’s concerts in Brighton and Eastbourne mark 26-year-old Shokhakimov’s first performances with the London Philharmonic Orchestra. This season he will also make debuts with the Strasbourg

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Philharmonic, Monte-Carlo Philharmonic, Frankfurt Radio Symphony and Tonkünstler orchestras, and the Deutsche Oper am Rhein. He will also return to La Verdi Orchestra, Sinfonia Varsovia, the Filarmonica del Teatro Comunale di Bologna, and the Dusseldorf, Nuremberg and Winnipeg symphony orchestras. The music of Beethoven, Brahms, Stravinsky, Tchaikovsky and Mahler holds a special place in Aziz’s life. He also enjoys immersing himself in esoteric philosophy, the poetry of García Lorca and Sergei Yesenin and the history of ancient Egypt, as well as folk music and dance of the Caucasus region and Asia Minor. From an early age he has enjoyed spending time in the mountains to escape the busy city life. Since the age of 12, Aziz has been a devoted follower of Liverpool FC. Among his other interests are ping-pong, billiards and bowling.

Dmitri Berlinsky violin

Berlinsky displayed complete technical mastery. He played the Beethoven Concerto with elegance of style and phrasing – and in the Paganini Concerto, he gave an exceptional display of controlled violin playing.

The Strad

Dmitri Berlinsky arrived on the international scene in 1985 as the youngest ever winner of the Paganini International Violin Competition in Genoa, Italy. This victory led to his performance on Niccolò Paganini’s own Guarneri del Gesú instrument, a privilege shared by only a handful of artists in history. Subsequent triumphs at the Montreal International Violin Competition (Grand Prize), the International Tchaikovsky Competition and the Queen Elisabeth Competition in Brussels led to appearances with major orchestras in Europe, Russia, the Far East, and North and South America. Dmitri Berlinsky has performed in such major venues as Carnegie and Avery Fisher Halls in New York, Kennedy Center in Washington DC, Tokyo’s Suntory Hall, the Great Hall of the Moscow Conservatory, the Mariinsky Concert Hall, the Leipzig Gewandhaus, the Berlin Philharmonie, the Munich Herkulessaal, the Palais des Beaux Arts in Brussels, Bonn’s Beethoven Hall, Le Place des Arts in Montreal and Teatro Colón in Buenos Aires, among others. His extensive performance schedule has taken him to the Mostly Mozart Festival, the Prague Spring Festival, the Aspen Music Festival, the Newport Music Festival and the Settimane Musicale in Stresa, as well as appearances at the Casals Festival in Puerto Rico and festivals in Italy, France, Belgium, Germany, Scandinavia, Korea, China and Taiwan. Recent engagements have included performances with Lorin Maazel at the Castleton Festival, Mikhail Pletnev and the Russian National Orchestra, the Prague Radio Symphony Orchestra, the St Petersburg Philharmonic Orchestra, I Musici de Montréal, and a South American tour with the Prague Chamber Orchestra.

Dmitri is the founder of the chamber orchestra International Chamber Soloists and the Southampton Arts Festival in the Hamptons, New York. With the International Chamber Soloists he has directed and performed at the Fontana Arts Festival, the San Francisco Conservatory, and in numerous cities across North America including New York, Los Angeles, Toronto and Washington, DC. Dmitri is Artist Teacher and Professor at the College of Music of Michigan State University. His students have won important international competitions such as the Tchaikovsky, Menuhin, Tibor Varga and William Byrd, and have assumed positions in orchestras including the Boston Symphony and Seattle Symphony orchestras. Dmitri Berlinsky has taught and given masterclasses in Europe, Asia, Canada and the USA at the Chautauqua Festival, Summit Music Festival in New York, the Festival Internacional de Campos do Jordão in Brazil, the International Academy of Music in Italy, Instrumenta Verano in Mexico, the University of South California in Los Angeles, the Eastman School of Music, the Menuhin School, the Manhattan School of Music, Temple University in Philadelphia, and DePaul and Roosevelt universities in Chicago. His playing has been featured in the Emmy Awardwinning documentaries Life on Jupiter and New York Canvas. dmitriberlinsky.com

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Programme notes

Speedread Two works at the very forefront of the German Classical tradition provide the music in this programme, both of them responses to particular compositional challenges. Beethoven’s one and only violin concerto occupies a different world from the self-identifying assertiveness of his piano concertos, revealing him at his most serene and displaying a

Ludwig van Beethoven 1770–1827

For Beethoven, the concerto was not a form to be taken lightly. Like Mozart, the first great Classical master of the genre, he composed concertos principally for his own instrument, the piano; but whereas Mozart’s output of piano concertos ran to nearly 30, Beethoven completed only five, each of them a dynamic and virtuosic conflict between soloist and orchestra. Compared to these dramas, his only completed violin concerto is a very different animal, a work of unprecedented warmth and serenity that its first audiences evidently found rather puzzling. ‘The opinion of connoisseurs admits that it contains beautiful passages, but confesses that the context often seems broken and that the endless repetition of unimportant passages produces a tiring effect’, ran one account of its first performance in Vienna in December 1806. Clearly, a little more action was expected, although the circumstances of the premiere sound like they may not have helped: Beethoven had rushed to complete the piece in time and the soloist, Franz Clement, was apparently forced to sight-read much of it at the concert. Clement himself, meanwhile, no doubt failed to show the Concerto to best advantage by playing the

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spacious lyricism that never takes second place to showy virtuosity. Seventy years later, Brahms’s First Symphony was the fruit of two decades’ work in which the composer finally fulfilled his long-predicted destiny of establishing himself as Beethoven’s heir, at once embracing the great man’s powerful symphonic legacy and instilling it with new life and direction.

Violin Concerto in D major, Op. 61 Dmitri Berlinsky violin 1 Allegro ma non troppo 2 Larghetto – 3 Rondo: Allegro

second and third movements at the opposite end of the evening from the first, and inserting some virtuoso showpieces in between. Although Beethoven knew how to play the violin, it was not really his instrument, so we should not be too surprised that his concerto does not adopt the confrontational and virtuoso tone of the piano concertos. And unlike the piano, the violin cannot accompany itself, with the result that the orchestra has to play along almost all of the time. Beethoven does not fight against this. Instead he turns it to his advantage by writing a supremely conciliatory concerto in which the violin and orchestra are in agreement throughout, and as the great 20th-century Beethoven commentator Donald Tovey said, ‘all its most famous strokes of genius are not only mysteriously quiet, but mysterious in radiantly happy surroundings.’ This is certainly true of the work’s unusual opening, where five gentle drum beats introduce the sublime first theme, and then proceed to dominate and unify the whole movement through repeating and recycling their insistent rhythm in different contexts. There is no menace in this (as well

there could have been), and when the solo violin first enters it is not to contradict the orchestra, or even to contribute any new themes of its own, but to enrich the music with soaring embellishments and eloquent refinements of the movement’s glorious melodic material. This non-aggressive attitude is even more noticeable in the placid slow movement, which seems to start out as a straightforward set of variations on the theme introduced right at the beginning on muted strings – so straightforward, indeed, that the music never leaves the key of G major and the solo violin at first offers no more than gentle accompanimental arabesques. After the third variation, however (a loud restatement of the

theme by the orchestra alone), the soloist introduces a brief but sonorous new tune, which is then alternated with the main theme before a peaceful coda, a fanfarelike outburst from the strings and a short cadenza lead straight into the finale. Here again, the form is simple – a Rondo whose uncomplicated treatment may owe much to Beethoven’s haste to complete the Concerto, but whose recurring theme is irresistible nevertheless. And there is real originality in the way in which the movement opens with the theme given out by the soloist over a bare, prompting accompaniment from the cellos and basses, and in the way that, just when you feel Beethoven has proved that he could carry on forever, he wittily brings the Concerto to an end.

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

Johannes Brahms 1833–97

‘You don’t know what it’s like always to hear that giant marching along behind me’, Brahms once wrote to a friend. The giant in question was Beethoven, the composer who at the start of the 19th century had taken the genre of the symphony beyond absolute music and turned it into a powerful expression of the human condition. Beethoven’s symphonies – in particular the Fifth, Seventh and Ninth – made such a deep impression on the composers of succeeding decades that for a while, ironically, it almost seemed to have brought symphonic writing to a halt; so unwilling were composers to allow themselves to be measured against the greatness of Beethoven that they either wrote no symphonies at all, or, if they did, deliberately wrote works that modestly avoided confronting Beethoven on his own mighty terms. Yet if Brahms was as oppressed as the next man, he clearly also felt

Piano Concerto Symphony No. 1No. in C3 minor, in D minor, Op. 68 Op. 30 1 Un poco sostenuto Simon Trpčeski piano – Allegro 2 Andante sostenuto 3 pocoma allegretto e grazioso 1 Un Allegro non tanto 4 – PiùAdagio andante 2 Adagio Intermezzo: – – Allegro non troppo, ma con brio 3 Finale: Alla breve

that one day he would have to throw his hat into the symphonic arena. He was not alone. In 1853 he had met and befriended Schumann, who promptly hailed him in the press as a major talent and made clear his belief that in Brahms he had found someone destined to be the greatest symphonist of the age. Brahms did attempt a symphony around this time, but, ever one of the most self-critical of composers, soon discarded the project. By 1862 he was showing friends the first movement of a new symphony, but he was in no hurry to finish it; despite constant encouragement and increasing public anticipation, he did not complete it until 1876. The premiere of this First Symphony finally took place in Karlsruhe that November. The ways in which Brahms’s First Symphony shows its debt to Beethoven are not hard to identify. On the London Philharmonic Orchestra | 9

Programme notes continued

most obvious level, many passages in the first and last movements simply sound like Beethoven; one theme in particular – the famous striding main theme that springs forth after the long slow introduction to the finale – drew immediate comment for its resemblance to the ‘Ode to Joy’ theme from Beethoven’s Ninth, to which insight Brahms is said to have replied ‘any fool can hear that!’. More meaningful is the way in which Brahms mimics the typical Beethovenian symphonic journey from darkness to light in the form of an audible triumph against adversity over the course of the four movements. Beethoven’s Fifth is the outstanding model for this, and it is surely no coincidence that Brahms chooses to begin it in the same key of C minor – Beethoven’s most characteristic and dramatic – and to end it, as Beethoven does, in a more optimistic C major. If the outer movements show Brahms at perhaps his most Beethovenian, the two central ones are more typically his. The slow second movement is radiant, rich and song-like, and includes an enchanting oboe

melody later heard to even greater effect on solo violin. The mood of this movement may owe something to its equivalent in Schumann’s Fourth Symphony, but in the third movement Brahms is at his most original; where Beethoven would invariably have chosen a vigorously rhythmic, almost aggressive movement of the scherzo type, Brahms writes a movement that is neither fast nor slow, and breathes gentle contentment and joy. Brahms’s response to descriptions of his First Symphony as ‘Beethoven’s Tenth’ may have been dismissive, but the time and trouble he took over the work suggest that he was fully aware of the historical significance of a debut symphony by a composer who had been declared Beethoven’s artistic heir even before he had produced the evidence. The wait was worth it; in this one work he restored to life a genre which many of his contemporaries had assumed dead. Programme notes © Lindsay Kemp

Brahms Symphonies on the LPO Label A selection of LPO CDs is available to purchase in the foyer at today’s concert

‘The London Philharmonic Orchestra’s strings combine passion and poise, and the woodwinds are exquisite ... The LPO’s principal conductor marries the best of tradition with the best of modern practice.’ Financial Times, 24 January 2014 Symphonies Nos. 1 & 2

Symphonies Nos. 3 & 4

£10.99 (2CDs) | LPO-0043

£9.99 (1CD) | LPO-0075

CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), the Royal Festival Hall shop and all good CD outlets. Available to download or stream online via iTunes, Spotify, Amazon and others.

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Next LPO concerts in Brighton and Eastbourne

Look out for our season brochure as you leave the concert today, call 020 7840 4242 to request a copy, or browse the season online at lpo.org.uk

London Philharmonic Orchestra 2014/15 season at Brighton Dome

London Philharmonic Orchestra 2014/15 season at the Congress Theatre, Eastbourne

Saturday 17 January 2015 | 7.30pm

Sunday 22 February 2015 | 3.00pm

Humperdinck Prelude, Hansel and Gretel Chopin Piano Concerto No. 2 Dvořák Symphony No. 8

Borodin In the Steppes of Central Asia Tchaikovsky Violin Concerto Dvořák Symphony No. 9 (From the New World)

Rory Macdonald conductor Lambis Vassiliadis piano

Garry Walker conductor Tamsin Waley-Cohen violin

Saturday 28 March 2015 | 7.30pm

Sunday 15 March 2015 | 3.00pm

Tchaikovsky Romeo and Juliet (Fantasy Overture) Elgar Cello Concerto Rimsky-Korsakov Scheherazade

Beethoven Symphony No. 1 Haydn Piano Concerto in D major, Hob. VIII.11 Rossini Overture, The Barber of Seville Mozart Symphony No. 41, K551 (Jupiter)

Jaime Martín conductor Andreas Brantelid cello

Daniel Smith conductor Maria Meerovitch piano

Sunday 29 March 2015 | 3.00pm Tchaikovsky Romeo and Juliet (Fantasy Overture) Elgar Cello Concerto Rimsky-Korsakov Scheherazade Jaime Martín conductor Andreas Brantelid cello Jaime Martín and Andreas Brantelid

Sunday 12 April 2015 | 3.00pm ‘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.’

Elgar Introduction and Allegro Mendelssohn Violin Concerto Beethoven Symphony No. 7

Howard Young, Brighton.co.uk

Domingo Hindoyan conductor Madalyn Parnas violin

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.

Tickets £13–£29 plus £1 postage per booking. Season discounts of up to 20% available. Box Office 01323 412000 Book online at eastbournetheatres.co.uk

London Philharmonic Orchestra | 11

Orchestra news

New CD: Poulenc & Saint-Saëns organ works

Autumn tours

Just released on the LPO Label is a disc of Poulenc’s Organ Concerto and SaintSaëns’s ‘Organ’ Symphony, recorded live at Royal Festival Hall (LPO-0081). This sellout concert in March 2014, conducted by Yannick NézetSéguin with organist James O’Donnell, launched the refurbished Royal Festival Hall organ, complete for the first time since 2005.

Last week the Orchestra, along with conductor Yannick Nézet-Séguin and pianist Lars Vogt, visited Germany to give three concerts in Dortmund, Essen and BadenBaden. On 8 December the Orchestra will return to Germany with conductor Vladimir Jurowski and cellist Sol Gabetta for concerts in Cologne, Stuttgart, Freiburg, Munich, Friedrichshafen, Hamburg and Hannover.

The CD booklet includes full organ specification and an article on the history and refurbishment of the organ by its curator, Dr William McVicker. The CD is priced £9.99, including free postage. Buy from lpo.org.uk/recordings, the London Philharmonic Orchestra Box Office (020 7840 4242) and all good CD outlets. Also available to download via iTunes, Spotify and others.

The run-up to Christmas sees the Orchestra’s first visit to Iceland where, with conductor Osmo Vänskä and pianist Leif Ove Andsnes, they will give two concerts on 18 & 19 December at Harpa, a stunning new waterfront concert hall in Reykjavík. This tour is an exciting venture for the Orchestra, particularly as we will be the first British orchestra to perform at the venue. The Orchestra will celebrate New Year in China with two concerts at the futuristic Guangzhou Opera House, a venue we last visited in 2011. Vassily Sinaisky will conduct, with pianist Behzod Abduraimov. This tour also includes concerts in Shenzhen, Shanghai and Beijing, before we return to London in early January.

London Philharmonic Orchestra 2014/15 Eastbourne Appeal As the London Philharmonic Orchestra’s 2014/15 season at Eastbourne continues with another year of superb programming, it is with great anticipation that we welcome a number of gifted young artists to share the stage with the Orchestra, including violinists Tamsin Waley-Cohen and Madalyn Parnas and cellist Andreas Brantelid. Young musicians like these will have been significantly influenced by their first experience of a live orchestral concert, and it is for this reason that the Orchestra performs live to over 16,000 school children each year through a series of specially designed daytime concerts that link to what they are learning at school. Our 2014/15 Eastbourne Appeal aims to secure further support towards these educational activities, ensuring that young people – particularly those in under-resourced areas – have the opportunity to access their first orchestral experience. There is a subsidy of £9 on each ticket and we hope to be able to offer over 550 young people the opportunity to attend a performance as a result of this Appeal. We are extremely grateful for the continued support of our Eastbourne audiences and hope you will consider making a donation to the Orchestra in support of this year’s Appeal. To donate please visit lpo.org.uk/eastbourneappeal or contact Helen Etheridge: 020 7840 4225 or helen.etheridge@lpo.org.uk

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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

Wednesday 21 January 2015 | 7.30pm

Tickets: £9–£39 (Premium seats £65)

Wagner Das Rheingold (excerpts) Rachmaninoff The Miserly Knight (semi-staged)

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.

Vladimir Jurowski conductor Annabel Arden director For a full list of artists, visit lpo.org.uk

Rachmaninoff: Inside Out is presented in co-operation with the Serge Rachmaninoff Foundation.

London Philharmonic Orchestra | 13

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 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

14 | London Philharmonic Orchestra

Trusts and Foundations Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Peter Carr Charitable Trust, in memory of Peter Carr The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Hinrichsen Foundation The Hobson Charity Kirby Laing Foundation The Leche Trust Marsh Christian Trust

The Mayor of London’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust The Ann and Frederick O’Brien Charitable Trust Palazzetto Bru Zane – Centre de musique romantique française Polish Cultural Institute in London PRS for Music Foundation Rivers Foundation The R K Charitable Trust Serge Rachmaninoff Foundation Schroder Charity Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust The Steel Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation 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, as well as many who have chosen to remain anonymous, have already been matched pound for pound by Arts Council England through a Catalyst Endowment grant. By May 2015 we aim to have raised £1 million which, when matched, will create a £2 million fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre. We thank those who are helping us to realise the vision.

Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Tsukanov Family Foundation The Underwood Trust

Kasia Robinski David Ross and Line Forestier (Canada) Tom and Phillis Sharpe Mr & Mrs G Stein TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker

Welser-Möst Circle John Ireland Charitable Trust Neil Westreich

Pritchard Donors Anonymous Linda Blackstone Michael Blackstone Yan Bonduelle Richard and Jo Brass Britten-Pears Foundation Business Events Sydney Desmond & Ruth Cecil Lady June Chichester John Childress & Christiane Wuillamie Lindka Cierach Paul Collins Mr Alistair Corbett Dolly Costopoulos Mark Damazer Olivier Demarthe David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Commander Vincent Evans Mr Timothy Fancourt QC Christopher Fraser OBE Karima & David G Lyuba Galkina David Goldberg Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust John Hunter

Tennstedt Circle Simon Robey Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas Anonymous John & Manon Antoniazzi Georgy Djaparidze Mrs Mina Goodman and Miss Suzanne Goodman Robert Markwick The Rothschild Foundation Haitink Patrons Mark & Elizabeth Adams Lady Jane Berrill David & Yi Yao Buckley Bruno de Kegel Goldman Sachs International Moya Greene Tony and Susie Hayes Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Dr Karen Morton Ruth Rattenbury Sir Bernard Rix

Ivan Hurry Rehmet Kassim-Lakha Tanya Kornilova Peter Leaver Mr Mark Leishman LVO and Mrs Fiona Leishman Howard & Marilyn Levene Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Dr Frank Lim Dr Eva Lotta & Mr Thierry Sciard Peter Mace Geoff & Meg Mann Ulrike Mansel Marsh Christian Trust John Montgomery Rosemary Morgan Paris Natar John Owen The late Edmund Pirouet Mr Michael Posen Sarah & John Priestland Victoria Provis William Shawcross Tim Slorick Howard Snell Lady Valerie Solti Stanley Stecker Lady Marina Vaizey Helen Walker Timothy Walker AM Laurence Watt Des & Maggie Whitelock Brian Whittle Christopher Williams Peter Wilson Smith Victoria Yanakova Mr Anthony Yolland

London Philharmonic Orchestra | 15

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