London Philharmonic Orchestra 29 April 2015 concert programme by London Philharmonic Orchestra

I N S I D E

Concert programme

O U T

lpo.org.uk/rachmaninoff

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

Southbank Centre’s Royal Festival Hall Wednesday 29 April 2015 | 7.30pm

Rachmaninoff (arr. Butsko) Piano Suites, Four movements (14’) Rachmaninoff (arr. Jurowski) 10 Songs (30’)

Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Vsevolod Grivnov 8 Programme notes 16 On the LPO label 17 LPO 2015/16 London season 18 Supporters 19 Sound Futures donors 20 LPO administration The timings shown are not precise and are given only as a guide.

Interval Rachmaninoff Symphony No. 3 in A minor, Op. 44 (38’) Vladimir Jurowski conductor Vsevolod Grivnov tenor

In co-operation with the Serge Rachmaninoff Foundation

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

Free pre-concert event 6.15pm–6.45pm Royal Festival Hall Vladimir Jurowski, in conversation with David Nice, discusses Rachmaninoff’s legacy and his grandfather’s arrangement of the songs heard tonight.

Welcome

London Philharmonic Orchestra 2014/15 season

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.

Welcome to Southbank Centre’s Royal Festival Hall and the final concert of our year-long Rachmaninoff: Inside Out season exploring the composer’s life and music. Highlights have included a semi-staged performance of The Miserly Knight: ‘the sound Jurowski coaxed from the LPO was exquisite’ wrote Matthew Wright of the concert, and the Spring Cantata that, according to Hilary Finch of The Times , ‘did credit to the ... series’. (A recording of the LPO/Glyndebourne performance of The Miserly Knight is available on DVD.) lpo.org.uk/rachmaninoff-inside-out

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.

10008-CLASS LPO Concert Programme 73x69mm.pdf

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. C

MOBILES, PAGERS AND WATCHES should be switched M off before the performance begins. Y

CMY

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Andrés Orozco-Estrada nominated for award The LPO congratulates its new Principal Guest Conductor, Andrés Orozco-Estrada, for his nomination in the Young Artists category for the RPS Awards. The Awards are the highest recognition for live classical music-making in the UK. Andrés conducts the Orchestra in the new season, on Wednesday 25 November 2015 and Friday 26 February 2016, in programmes that includes Mahler’s First Symphony and Stravinsky’s Firebird Suite. lpo.org.uk/whats-on/season15-16 1

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

Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Grace Lee Rebecca Shorrock Galina Tanney Nilufar Alimaksumova Kate Cole Second Violins Philippe Honoré Guest Principal Jeongmin Kim Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Nynke Hijlkema Marie-Anne Mairesse Ashley Stevens Dean Williamson Helena Nicholls Sioni Williams Harry Kerr

Violas Przemyslaw Pujanek Guest Principal Cyrille Mercier Co-Principal Robert Duncan Gregory Aronovich Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Naomi Holt Isabel Pereira Daniel Cornford Miriam Eisele Cellos Pei-Jee Ng Guest Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Elisabeth Wiklander Susanna Riddell Sibylle Hentschel Tae-Mi Song Philip Taylor Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Helen Rowlands Charlotte Kerbegian Catherine Ricketts Flutes Sue Thomas* Principal Chair supported by Victoria Robey OBE

Oboes Ian Hardwick* Principal Alice Munday Cor Anglais Sue Böhling* Principal

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

Clarinets Robert Hill* Principal Thomas Watmough Douglas Mitchell

Keith Millar Tom Edwards Jeremy Cornes Sarah Mason

E-flat Clarinet Thomas Watmough Principal

Harps Rachel Masters* Principal Lucy Haslar

Bass Clarinet Paul Richards Principal

Celeste and Piano Catherine Edwards

Bassoons Jaroslaw Augustyniak Guest Principal Gareth Newman Simon Estell

Celeste John Cuthbert

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

Nicholas Betts Co-Principal Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

Hannah Grayson

David Whitehouse

Piccolo Stewart McIlwham* Principal

Bass Trombone Lyndon Meredith Principal

* 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; Bianca and Stuart Roden; Simon Robey

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

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London Philharmonic Orchestra

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

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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

Jurowski seems to have reached the magic state when he can summon a packed house to hear anything he conducts with the LPO, however unfamiliar.

Geoff Brown, The Arts Desk, February 2015

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 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, Ariadne auf Naxos and The Miserly Knight. lpo.org.uk/about/jurowski

Vsevolod Grivnov tenor

Vsevolod Grivnov is a winning and impassioned tenor with a thrilling thrust to the voice.

Edward Seckerson, The Independent, November 2009

Russian tenor Vsevolod Grivnov became a soloist of the New Opera Company of Moscow’s Municipal Theatre in 1990 and is also a principal soloist with the Bolshoi Theatre. Performances with the latter have included Alfredo (La traviata), Luisa Miller, A Masked Ball and Cilea’s Adriana Lecouvreur. In October 1995 he sang Levko in Rimsky Korsakov’s opera May Night at the Wexford Festival, and was highly praised for his performances, being hailed by critics as the outstanding new voice of the festival. Career highlights include the title role in Oedipus Rex at the Teatro Weikl in Poland, the Granada Festival in Valencia, Bilbao and Barcelona; Shostakovich’s Jewish Folk Songs with the Baltimore Symphony and San Francisco Symphony orchestras; and Lensky (Eugene Onegin) with Deutsche Oper Berlin.

of Mtsensk) with the New Israeli Opera and Don José (Carmen) with the Teatro Bellini Catania. He also recently sang his first Aida with Cologne Opera as well as Lensky with Los Angeles Opera. Last season’s performances on the concert platform included a selection of Rachmaninoff songs at the Dresden Philharmonie under Michail Jurowski, The Bells with the Philadelphia Orchestra under the baton of Vladimir Jurowski and Schnittke’s Requiem with the Warsaw Philharmonic. Other recent engagements include: Verdi’s Requiem with the Noord Nederlandse Orkest and Rachmaninoff’s Songs for Tenor and Orchestra with the Norrköping Symphony Orchestra. This season he has sung Mazeppa with the NTR Radio and TV Orchestra and earlier this year performed with the LPO at Royal Festival Hall in Rachmaninoff’s The Miserly Knight.

Other engagements have included Lady Macbeth of Mtsensk at the San Francisco Opera and Teatro del Maggio Musical Fiorentino, Pulcinella with the San Francisco Symphony Orchestra, Shostakovich’s Six Romances On Texts By Japanese Poets in Venice, The Miserly Knight at the Teatro São Carlos in Lisbon, Francesca Da Rimini with the Orchestra São Paolo de Brazil, Rachmaninoff’s The Bells with the Oslo Philharmonic Orchestra conducted by Vladimir Jurowski, the Verdi Requiem with the Bergen Philharmonic Orchestra and Les Noces with the RIAS Kammerchor in Berlin which was also recorded by Harmonia Mundi. Vsevolod’s recent highlights on the opera stage include Tchaikovsky’s Charodeika at the Bolshoi Theatre, Khovanshchina at the Opera de Paris Bastille, La Forza del Destino with Cologne Opera, Sergei (Lady Macbeth

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Programme notes

Speedread A deep sadness colours Rachmaninoff’s third and final symphony. For music journalist Robert Angles, it stemmed from ‘the grief of a deeply patriotic man forcibly separated from the land of his birth’. In 1935 Rachmaninoff knew he’d never return to Russia, but still his Symphony finds moments of dignity and optimism, of brilliance and vitality. Here it forms an appropriate ‘farewell’ to Rachmaninoff following our season-long exploration of his music.

Serge Rachmaninoff 1873–1943

It was Respighi who realised the potential of orchestrating Rachmaninoff’s piano music when in 1931, with Rachmaninoff’s blessing, he took five of the études-tableaux from the Op. 33 and Op. 39 sets and made them into an orchestral suite. The colour spectra within Rachmaninoff’s keyboard writing, while drawn naturally from the timbres and shadings of the piano itself, can easily conjure up, or at least imply, tonal qualities of other instruments as well. Yury Butsko, a prolific Russian composer born in 1938, has followed the example of Respighi by selecting four Rachmaninoff pieces and reimagining them in orchestral terms. Interestingly, too, they are, for the most part, miniatures that have remained slightly off-centre of the pianist’s regular repertoire.

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Vladimir Jurowski precedes the Symphony with Yuri Butsko’s arrangements of some of the composer’s scintillating piano suites and a selection of his grandfather’s own orchestrations of ten of Rachmaninoff’s most touching songs. Andrew Mellor

Piano Suites, Four movements (arr. Butsko) 1 2 3 4

Glory!, Op. 11 No. 6 Russian Song, Op. 11 No. 3 Pulcinella, Op. 3 No. 4 Easter, Op. 5 No. 4

Rachmaninoff composed the Op. 11 duets – published under the umbrella title Six Morceaux – in April 1894. For the last of them (which is first in Butsko’s suite), he adopted the Glory! tune familiar from the Coronation Scene of Mussorgsky’s Boris Godunov, and for the third (second in the Butsko sequence) a plaintive Russian folksong – rare instances, both, of Rachmaninoff using folk material. The playful Pulcinella Op. 3 No. 4 has long been overshadowed by the Prelude in C sharp minor from the same set of Morceaux de fantaisie, and the final piece is the Easter celebration from the Fantaisietableaux Op. 5 for piano duet, incorporating the same Russian Orthodox chant that Rimsky-Korsakov used in his Russian Easter Festival Overture.

Serge Rachmaninoff

1 2 3 4 5 6 7 8 9 10

Christ is risen, Op. 26, No. 6 Before my window, Op. 26, No. 10 All things pass away, Op. 26, No. 15 The little island, Op. 14, No. 2 We shall rest, Op. 26, No. 3 What happiness, Op. 34, No. 12 I remember that day, Op. 34, No. 10 It cannot be, Op. 34, No. 7 Sleep, Op. 38, No. 5 How beautiful it is here, Op. 21, No. 7

Texts start on page 11 If the Butsko orchestral arrangements are all based on Rachmaninoff’s early works, these ones all stem from songs of the composer’s maturity. If you stroll through the expanses of Rachmaninoff’s estate at Ivanovka, deep in the Russian countryside, you are immediately struck by the silence, the whispers and rustlings of nature and the tranquil air of sanctuary that he needed for inspiration to flourish. Indeed, look out of his study window and you can almost hear the strains of one of his most beautiful songs, ‘Before my window’, with its image of a blossoming, perfumed cherry tree encapsulating blissfully the stillness and the magic that Ivanovka enshrines. It is this inner quality that comes through in Rachmaninoff’s songs, of which he composed about 80, starting in 1890, when he was still a conservatoire student, and ending in 1916 with the set of six, Op. 38. Thereafter, despite the fact that in exile he strove to recapture Ivanovka’s serenity at his homes in Switzerland and America, he never again found the stimulus for song writing that the real Russia had nurtured.

10 Songs (arr. Jurowski) Vsevolod Grivnov tenor

My grandfather must have felt really inspired when the most famous Russian tenor of the era asked him to orchestrate 10 selected songs ... Vladimir Jurowski These arrangements were made by Vladimir Jurowski’s grandfather, also called Vladimir (1915–1972), whose first experience of Rachmaninoff’s music in Russia after the Second World War inspired him to orchestrate 10 songs specifically for the celebrated Russian tenor Ivan Kozlovsky, who recorded them with the conductor Kiril Kondrashin. These particular songs, with their original piano accompaniments, have now become staples of the repertoire, exploring as they do the span of emotion from wistfulness to rapture, lyricism to fervent introspection that Rachmaninoff could crystallise so tellingly.

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Programme notes continued

Jurowski on Jurowski

Courtesy of Vladimir Jurowski

Vladimir Jurowski considers his grandfather’s inspiration for the Rachmaninoff arrangements

Vladimir Michailovich Jurowski (1915–72) When my grandfather Vladimir Jurowski senior started studying composition at the Moscow Conservatory with Nikolai Myaskovsky in the early 1930s, Serge Rachmaninoff’s music was officially banned from the concert platforms in the Soviet Union, instigated by his emigration in the West and his anti-Soviet statements in the press. Despite the ban, certain performers continued playing his music in Russia, but it wasn’t until during the Second World War when Rachmaninoff was helping the Red Army financially that his music was officially permitted to be performed again. And even then some of his works (particularly those written for the church like the All-Night Vigil or Liturgy of St John Chrysostom, and also some of the songs such as ‘Christ is risen’) remained a taboo for many years because of their religious context. Although my grandfather’s own compositional style was rather influenced by his teacher Myaskovsky, and partly also by his older contemporaries Prokofiev and Shostakovich, he had always been a huge admirer of Rachmaninoff’s music and he must have felt really

inspired when the most famous Russian tenor of the era, Ivan Kozlovsky, asked him (in the early 1960s) to orchestrate 10 selected songs by Rachmaninoff. Kozlovsky would later record them with the conductor Kiril Kondrashin and also frequently perform them in concerts. Kozlovsky was very specific about the choice of songs and he insisted ‘Christ is risen’ be included in the selection despite its potentially ‘problematic’ ideological status. My grandfather took this commission very seriously and worked on the orchestration for several months – he was obviously trying to find an equivalent orchestral solution for the accompaniment, which Rachmaninoff wrote specifically for the piano – an instrument he mastered like no other musician of his time. The result is impressively colourful and ranges from the delicacy of the almost chamber-like settings of such songs as ‘The little Island’ or ‘How beautiful it is here’ through exquisitely impressionistic textures of ‘Sleep’ to the truly symphonic dimensions of ‘Christ is risen’ or ‘What happiness’.

Vladimir Jurowski also features in this month’s LPO podcast discussing the song arrangements lpo.org.uk/podcasts/podcast-apr15.html

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Rachmaninoff 10 Songs texts

1 Khristos voskres ‘Khristos voskres’, poyut vo khrame; No grustno mne ... dusha molchit. Mir polon krovyu i slezami, I etot gimn pred altaryami Tak oskorbitelno zvuchit. Kogda-b On bïl mezh nas i videl, Chevo dostig nash slavnïy vek, Kak brata brat voznenavidel, Kak opozoren chelovek, I yesli b zdes, v blestyashchem khrame, ‘Khristos voskres’ On uslïkhal, Kakimi-b gorkimi slezami, Pered tolpoy On zarïdal!

Christ is risen ‘Christ is risen’, they sing in the churches; but I am sorrowful, my soul is silent. The world is filled with bloodshed and tears, and this hymn rising up before the altars rings out like a mockery. If He came again among us to see the triumphs of our glorious age; to see how brothers hate one another, and how shameful mankind has become; if He were here in this glittering church to hear the chant of ‘Christ is risen’, what bitter tears he would weep before the congregations!

2 U moyevo okna U moyevo okna cheryomukha tsvetyot, Tsvetyot zadumchivo pod rizoy serebristoy ... I vetkoy svezhey i dushistoy Sklonilas i zovyot ... Eyo trepeshchushchikh vozdushnïkh lepestkov Ya radostno lovlyu veseloye dïkhanye, Ikh sladkiy aromat tumanit mne soznanye, I pesni o lyubvi oni poyut bez slov.

Before my window Before my window flowers a cherry tree, blossoming dreamily in a silvery shimmer ... Its fragrant branches gently call to me ... I draw down the trembling blossoms and joyfully breathe in their fresh scent, until their fragrance clouds my senses; they are singing a wordless love song.

3 Prokhodit vse Prokhodit vsyo, i net k nemu vozvrata. Zhizn mchitsa vdal, mgnoveniya bïstrey. Gde zvuki slov, zvuchavshikh nam kogda-to? Gde svet zari nas ozaryavshikh dney? Rastsvel tsvetok, a zavtra on uvyanet. Gorit ogon, shtob vskore otgoret ... Idyot volna, nad ney drugaya vstanet ... Ya ne mogu vesyolïkh pesen pet!

All things Pass Away All things pass away, nothing ever returns. Life hurries on, a series of fleeting moments. Where are the words that were once uttered? Where is the light of yesterday’s dawn? A flower blooms and is withered tomorrow. A flame springs up only to die away in ashes ... The waves roll past, never still for a moment ... There can be no joy in my song!

4 Ostrovok Iz morya smotrit ostrovok, Yevo zelyonïe uklonï Ukrasil trav gustïkh venok, Fialki, anemonï.

The Little Island A little island set in sea, To keep her maiden shores inviolate, Did plant them round with laurel tree With roses, and the violet.

Nad nim spletayutsa listï, Vokrug nevo chut pleshchut volnï. Derevya grustnï, kak mechtï, Kak statui, bezmolvnï.

And thus in shade of green repose, The waters lulled this quiet haven. The dreaming woodland trees arose Like images engraven. Please turn the page quietly London Philharmonic Orchestra | 11

Rachmaninoff 10 Songs texts continued

Zdes yele dïshit veterok, Syuda groza ne doletayet, I bezmyatezhnïy ostrovok Vsyo dremlet, zasïpayet.

Each single breath of air is mild, From sov’reign rule of tempest sever’d, The island sleeps like any child; So tranquil, peace deliver’d.

5 Mï otdokhnyom Mï otdokhnyom! Mï uslïshim angelov, mï uvidim vsyo nebo v almazakh, mï uvidim, kak vsyo zlo zemnoye, vse nashi stradaniya potonut v miloserdii, Kotoroye napolnit soboyu ves mir, i nasha zhizn stanet tikhoyu, nezhnoyu, sladkoyu, kak laska. Ya veruyu, veruyu ... Mï otdokhnyom ... Mï otdokhnyom.

We shall rest We shall rest, we shall hear the angels, we shall see stars in heaven like diamonds; we shall see how all the evil on earth, all our sufferings, are swept away, by the grace that will fill the world. And our life will be peaceful, gentle, tender, as sweet as a caress. I believe it, I believe it ... We shall rest ... We shall rest.

6 Kakoye schastye Kakoye schastye: i noch, i mï odni! Reka kak zerkalo, i vsya blestit zvezdami. A tam-to golovu zakin – ka, da vzglyani: Kakaya glubina i chistota nad nami.

What happiness What happiness! It is night, and we are alone. The river is like a mirror reflecting the glow of the stars. Come, bend your head: see how its depths reflect the pure blue of heaven.

O, nazïvay menya bezumnïm! Nazovi, chem khochesh: V etot mig ya razumom slabeyu I v serdtse chuvstvuyu takoy priliv lyubvi, Shto ne mogu molchat, ne stanu, ne umeyu!

Oh tell me I have lost all reason, tell me whatever you wish! At such a moment my reason falters, my heart is so flooded with love and desire, that I can neither keep silent nor understand.

Ya bolen, ya vlyublyon, No, muchas i lyubya, O, slushay! o poymi! Ya strasti ne skrïvayu, I ya khochu skazat, shto ya lyublyu tebya, Tebya, odnu tebya lyublyu ya i zhelayu!

I am sick with love and with the pains of love. Listen, believe me: I cannot hide my agony, but I have to tell you how I love you, it is you alone that I love and desire!

7 Sey den ya pomnyu Sey den, ya pomnyu, dlya menya Bïl utrom, zhiznennevo dnya. Stoyala molcha predo mnoyu, Vzdïmalas grud yeyo, Aleli shchoki, kak zarya, Vsyo zharche rdeya i gorya ... I vdrug, kak solntse zolotoye, Lyubvi priznanye molodoye, Istorglos iz grudi yeya, I novïy mir uvidel ya!

I remember that day I remember that day; for me it was the morning of my life. She stood silently before me, her breast heaving, her cheeks flushing red as dawn, glowing with ever more fire ... And suddenly, like a golden sun, a youthful confession of love burst out from her, and I beheld a new world!

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8 Ne mozhet bït! Ne mozhet bït! Ne mozhet bït! Ona zhiva! Seychas prosnyotsa ... Smotrite: khochet govorit, Otkroyet ochi, ulïbnyotsa, Menya uvidevshi, poymyot, Shto neuteshnïy plach moy znachit, I vdrug s ulïbkoyu shepnyot: “Ved ya zhiva! O chom on plachet?” No net! Lezhit ... tikha, nema, nedvizhna ...

It cannot be! It cannot be! It cannot be! She is alive! She is waking now ... Look, she wishes to speak, she’s opening her eyes and smiling; when she sees me she will understand the meaning of my bitter tears and will whisper, with a smile: ‘But I am alive! What are you weeping for?’ But no. She lies there silent, still, unmoving ...

9 Son V mire net nichevo vozhdelenneye sna, Charï yest u nevo, u nevo tishina, U nevo na ustakh ni pechal i ni smekh, I v bezdonnïkh ochakh mnogo taynïkh utekh.

Sleep Nothing in the world is more longed-for than sleep; it has such enchantment and quietness, its features show neither sorrow nor laughter, in its fathomless eyes lie many secret delights.

U nevo shiroki, shiroki dva krïla, I legki, tak legki, kak polnochnaya mgla. Ne ponyat, kak nesyot, i kuda i na chyom, On krïlom ne vzmakhnyot, i ne dvinet plechom.

It soars to the heights on shining wings as lightly as the darkness of midnight. Incomprehensible, beyond time and space, soaring on wings that are still and motionless.

10 Zdes khorosho Zdes khorosho … Vzglyani, vdali Ognyom gorit reka; Tsvetnïm kovrom luga legli, Beleyut oblaka. Zdes net lyudey … Zdes tishina … Zdes tolko Bog da ya. Tsvetï, da staraya sosna, Da tï, mechta moya!

How beautiful it is here How beautiful it is here … Look, in the distance the river shines like fire; the meadows are like a coloured carpet, the clouds are white. There is no one here … There is only silence … Only God and I are here. Flowers, an old pine tree, and you, my dream!

Transliteration © Andrew Huth

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

London Philharmonic Orchestra | 13

Programme notes continued

Serge Rachmaninoff

Symphony No. 3 in A minor, Op. 44

Sir Henry Wood, writing in his autobiography My Life of Music (1938), predicted that Rachmaninoff’s Third Symphony would ‘prove as popular as Tchaikovsky’s Fifth’. If that has never really been the case, Wood’s further assessment of the score does ring true:

around me makes it impossible for me to work’, he wrote to his cousin and fellow pianist Alexander Ziloti, ‘and I am frightened of becoming completely apathetic. Everybody around me advises me to leave Russia for a while. But where to, and how? And is it possible? ... Can I count on getting a passport to leave the country with my family, even if only to Norway, Denmark, Sweden … It doesn’t matter where! Just somewhere!’ His despair was palpable, added to the fact that, as he said, he could ‘kiss goodbye’ to the money tied up in his country estate at Ivanovka. The estate, in fact, was razed to the ground in the revolutionary turmoil.

‘The work impresses me as being of the true Russian romantic school. One cannot get away from the beauty and melodic line of the themes and their logical development. As did Tchaikovsky, Rachmaninoff uses the instruments of the orchestra to their fullest effect. Those lovely little phrases for solo violin, echoed on the four solo woodwind instruments, have a magical effect in the slow movement. I am convinced that Rachmaninoff’s children will see their father’s Third Symphony take its rightful place in the affection of that section of the public which loves melody.’ There is certainly melody in the Third Symphony, but there is much else besides. This is late Rachmaninoff, a Rachmaninoff with his roots still firmly planted in Russian Romantic soil but with other influences, other ideas, other impulses coming into play as well. In the years up to and including 1917, Rachmaninoff had enjoyed a tri-partite musical life as composer, pianist and conductor. If the public in Russia, Europe and America recognised his gifts in all three branches of the profession, he himself always regarded himself as a composer first and foremost. If he also happened to be one of the finest pianists the world has ever known, that was, to a certain extent, a bonus. In 1917, however, there came a seismic change in his life. With the onset and aftermath of the October Revolution, Rachmaninoff and his family felt compelled to emigrate. ‘Everything

14 | London Philharmonic Orchestra

1 2 3

Lento – Allegro moderato – Allegro Adagio ma non troppo – Allegro vivace Allegro – Allegro vivace – Allegro (Tempo primo) – Allegretto – Allegro vivace.

The family left Russia at Christmas 1917, not for a while but for ever. This led to a serious rethink about his future together with a shift in priorities. The piano and the concert platform would now have to be put in first place, composition in second. Rachmaninoff’s repertoire was not then large. It centred, naturally enough, on his own works, with the addition of such composers as Chopin, Liszt and Tchaikovsky. In 1917 he was able to offer impresarios his own first three concertos together with Liszt’s No. 1 in E flat major, Tchaikovsky’s No. 1 in B flat minor and Anton Rubinstein’s No. 4 in D minor. But he set about broadening his scope, and for the next 25 years of his life he was lionized by audiences wherever he went. With a concert and recital schedule of exhausting proportions, the amount of time he could spend on composition was necessarily limited. Whereas in his Russian years he had completed 39 opus numbers, during his last quarter century he managed only six: the Fourth Piano Concerto (completed in its first version in 1926 and subsequently revised), the Three Russian Songs (1926), the Variations on a Theme of Corelli (1931), the Rhapsody on a Theme of Paganini (1934), the Third Symphony (1935–6) and the Symphonic Dances (1940).

After a decade or so as nomads in Europe and America, Rachmaninoff together with his wife Natalya and their two daughters finally settled in Switzerland in the early 1930s, building for themselves a villa called Senar (combining the names Serge and Natalya Rachmaninoff) on the shores of Lake Lucerne. It was here, in the tranquil surroundings he needed for inspiration, that he wrote the Third Symphony. The first two movements were composed during the summer and autumn of 1935. He then had to put the score aside to concentrate on practising for his next concert season, but he resumed work on it during May and June 1936, when he wrote the third movement and revised the first.

Russianness that courses through his entire œuvre. This is by no means a cosmetic or folksy Russianness. Rather, his music embraces a much broader spectrum and plumbs a deeper well of the country’s distinctive character, shot through with a sense of fatalism and with a richness of language that can encompass intense brooding, vital energy and passionate sincerity of soul. These qualities had seeped into Rachmaninoff’s very blood since early childhood, and in the later works are poignantly tinged with nostalgia for the homeland he had lost. Programme notes © Geoffrey Norris

Everybody advises me to leave Russia ... But where to? ... Can I count on getting a passport to leave the country with my family? ... it doesn’t matter where! Just somewhere!

Like the First and Second Symphonies, the Third begins with a chant-like motto theme (heard on horn, clarinet and cellos), a motif that recurs throughout the symphony as a point of reference. In contrast with his other two symphonies, the Third has only three movements, although a sharp-edged scherzo is incorporated into the central Adagio. In this scherzo, as in the vigorous finale, we can experience those crisp rhythms and pointed use of instrumental colours that mark so much of Rachmaninoff’s later music. For all this clarity of texture and piquancy of orchestration, however, the Third Symphony retains the essential

The symphony had its premiere on 6 November 1936 with the Philadelphia Orchestra under Leopold Stokowski, and was received ‘sourly’, to use Rachmaninoff’s own word. He made a few alterations, and it was published the following year. Sir Thomas Beecham conducted it in London in November 1937 with the London Philharmonic Orchestra, and Wood gave it in Liverpool with the Philharmonic Society in March 1938. But Rachmaninoff decided to make further revisions, chiefly re-touchings of the scoring and the odd cut, and a second edition was published in 1939. This he recorded with the Philadelphia Orchestra in December the same year, one of the few lasting examples we have of his prowess and distinction as a conductor.

The final concert in the LPO 2014/15 season at Royal Festival Hall

Berlioz Symphonie fantastique Giancarlo Guerrero conductor Narek Hakhnazaryan cello JTI Friday Series Live broadcast on BBC Radio 3 Tickets £9–£39 (premium seats £65) London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone.

London Philharmonic Orchestra | 15

On the LPO label

Jurowski conducts Rachmaninoff The Isle of the Dead Symphonic Dances Vladimir Jurowski conductor London Philharmonic Orchestra LPO-0004 | £9.99 ‘The chill mists of The Isle of the Dead are masterfully evoked, the lugubrious colours beautifully shaded ... Jurowski’s slow-burning Rachmaninoff is irresistible.’ The Independent on Sunday

More Rachmaninoff RACHMANINOV

SYMPHONY NO.3

BAX

TINTAGEL OSMO VÄNSKÄ conductor LONDON PHILHARMONIC ORCHESTRA

Latest release

Symphony No. 3 with Bax Tintagel

Osmo Vänskä conductor

Bruckner Symphony No. 3

London Philharmonic Orchestra

Stanisław Skrowaczewski conductor London Philharmonic Orchestra

LPO-0036 | £9.99

LPO-0084 | £9.99

Thrilling live recordings from Royal Festival Hall, of works by Rachmaninoff and Bax, two composers renowned for their sweeping romanticism

“It sounds throughout as though the LPO is completely in sympathy for their conductor’s carefully controlled approach … it feels right to the end.” Andrew McGregor, BBC Radio 3 CD Review, March 2015

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

16 | London Philharmonic Orchestra

2015/16 season at Royal Festival Hall Highlights 2015

2016

Wednesday 23 September Mahler Symphony No 7 Vladimir Jurowski conductor

Shakespeare400 In 2016 the LPO joins many of London’s other leading cultural institutions to celebrate the legacy of Shakespeare, 400 years since his death. Highlights include:

Wednesday 14 October Penderecki conducts Penderecki including UK premieres of Harp Concerto and Adagio for Strings

Wednesday 3 February Dvorˇák Overture, Otello

Saturday 31 October Bruckner Symphony No. 5 Stanisław Skrowaczewski conductor Friday 6 November A celebration of Mexican orchestral music Alondra de la Parra conductor JTI Friday Series

Wednesday 10 February Sibelius The Tempest (extracts) Friday 15 April Prokofiev Romeo and Juliet (extracts) JTI Friday Series Saturday 23 April Anniversary Gala Concert Including: Verdi Otello and Falstaff (extracts) Music from Britten, Mendelssohn and Walton Vladimir Jurowski conductor Simon Callow director Booking now Tickets from £9.00 Ticket office 020 7840 4242 lpo.org.uk

London Philharmonic Orchestra | 17

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

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

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

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

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

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

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

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

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

London Philharmonic Orchestra | 19

Administration

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

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Alison Atkinson Digital Projects Director

Alexandra Clarke Education and Community Project Manager

Matthew Freeman Recordings Consultant

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

Lucy Duffy Education and Community Project Manager

Public Relations Albion Media (Tel: 020 3077 4930)

Richard Mallett Education and Community Producer