Programme notes 2 October 2010 by London Philharmonic Orchestra

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Principal Conductor VLADIMIR JUROWSKI Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader PIETER SCHOEMAN Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER

AM†

CONCERT HALL, BRIGHTON DOME Saturday 2 October 2010 | 7.30pm

PROGRAMME £2.50 CONTENTS 2 3 4 5 8

List of Players Yan Pascal Tortelier Behzod Abduraimov Programme Notes Meet the Players Reception 9 Brighton Dome 10 Orchestra History 11 Supporters 12 Administration

YAN PASCAL TORTELIER conductor BEHZOD ABDURAIMOV piano

FAURÉ Suite: Pelléas et Mélisande

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

(19’)

SAINT-SAËNS Concerto No. 2 in G minor for piano and orchestra

(23’)

INTERVAL DVOŘÁK Symphony No. 8 in G

†

(36’)

supported by Macquarie Group

Ticket Office 01273 709709 www.brightondome.org

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LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINS Natalia Lomeiko Guest Leader Julia Rumley Chair supported by Mrs Steven Ward

Catherine Craig Tina Gruenberg Martin Hรถhmann Chair supported by Richard Karl Goeltz

Geoffrey Lynn Robert Pool Sarah Streatfeild Yang Zhang Alain Petitclerc Peter Nall Galina Tanney Toby Tramaseur Joanne Chen SECOND VIOLINS Clare Duckworth Principal Chair supported by Richard and Victoria Sharp

Joseph Maher Kate Birchall Chair supported by David and Victoria Graham Fuller

Fiona Higham Nynke Hijlkema Marie-Anne Mairesse Ashley Stevens Imogen Williamson Sioni Williams Peter Graham Mila Mustakova Stephen Stewart

VIOLAS Alexander Zemtsov* Principal Robert Duncan Katharine Leek Benedetto Pollani Emmanuella Reiter-Bootiman Laura Vallejo Michelle Bruil Alistair Scahill Isabel Pereira Anthony Byrne Chair supported by John and Angela Kessler

CELLOS Josephine Knight Guest Principal Francis Bucknall Laura Donoghue Santiago Sabino Carvalho + Jonathan Ayling Chair supported by Caroline, Jamie and Zander Sharp

Gregory Walmsley Sue Sutherley Sibylle Hentschel DOUBLE BASSES Kevin Rundell* Principal Laurence Lovelle George Peniston Kenneth Knussen Joe Melvin Helen Rowlands FLUTES Jaime Martin* Principal Anna Naranjo

PICCOLO Anna Naranjo

TUBA Lee Tsarmaklis Principal

OBOES Ian Hardwick Principal Angela Tennick

TIMPANI Antoine Bedewi Guest Principal

COR ANGLAIS Angela Tennick

PERCUSSION Keith Millar Principal

CLARINETS Robert Hill* Principal Emily Sutcliffe

HARP Rachel Masters* Principal

BASSOONS John Price Principal Gareth Newman* HORNS John Ryan Principal Estefania Beceiro Guest Principal Martin Hobbs Mark Vines Gareth Mollison TRUMPETS Paul Beniston* Principal Anne McAneney* Chair supported by Geoff and Meg Mann

TROMBONES Brian Raby Guest Principal Andrew Connington BASS TROMBONE Lyndon Meredith Principal

* Holds a professorial appointment in London +

Chevalier of the Brazilian Order of Rio Branco

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Andrew Davenport Julian and Gill Simmonds Simon Yates and Kevin Roon

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YAN PASCAL TORTELIER CONDUCTOR

Orchestras. Further afield he has collaborated with the Melbourne Symphony, Tokyo Metropolitan Symphony, Hong Kong Philharmonic and Malaysian Philharmonic Orchestras.

Yan Pascal Tortelier is Principal Conductor of the Sao Paulo Symphony Orchestra and enjoys a distinguished career as a guest conductor with the world’s most prestigious orchestras. He began his musical life as a violinist and at fourteen won first prize for violin at the Paris Conservatoire and also made his debut as a soloist with the London Philharmonic Orchestra. Following general musical studies with Nadia Boulanger, he studied conducting with Franco Ferrara at the Accademia Chigiana in Siena, and from 1974 to 1983 he was Associate Conductor of the Orchestre National du Capitole de Toulouse. Other positions have included Principal Conductor and Artistic Director of the Ulster Orchestra (1989-92) and Principal Guest Conductor of the Pittsburgh Symphony Orchestra (2005-08). Following his outstanding work as Chief Conductor of the BBC Philharmonic between 1992 and 2003, including annual appearances at the BBC Proms and a very successful tour of the US to celebrate the orchestra’s 60th anniversary season, he has been given the title of Conductor Emeritus and continues to work with the orchestra regularly. He also holds the position of Principal Guest Conductor at the Royal Academy of Music in London.

Forthcoming highlights include return visits to the London Philharmonic Orchestra, BBC Symphony Orchestra, Bournemouth Symphony Orchestra, Minnesota Orchestra, Dresden Philharmonic Orchestra, San Francisco Symphony Orchestra, Baltimore Symphony Orchestra and St Petersburg Philharmonic Orchestra. This month he also undertakes a major European tour with the Sao Paulo Symphony Orchestra, visiting a number of prestigious venues including the Vienna Musikverein, Salzburg Festspielhaus, Frankfurt Alte Oper and Cologne Philharmonie. Yan Pascal Tortelier has enjoyed a long association with Chandos Records resulting in an extensive catalogue of recordings, notably with the BBC Philharmonic and Ulster Orchestras, and including award-winning cycles of the orchestral music of Debussy, Ravel (featuring his own orchestration of Ravel’s Piano Trio), Franck, Roussel and Dutilleux. He has also conducted critically acclaimed discs of repertoire ranging from Hindemith and Kodaly to Lutoslawski and Karlowicz. Forthcoming releases for Chandos include Ravel’s Piano Concertos with Jean-Efflam Bavouzet in November 2010 and a disc of works by Florent Schmitt with the Sao Paulo Symphony Orchestra in 2011.

Yan Pascal Tortelier has collaborated with major orchestras including the London Symphony, London Philharmonic, Orchestre de Paris, Royal Concertgebouw, Czech Philharmonic, St Petersburg Philharmonic, Oslo Philharmonic, Filarmonica della Scala Milan, and in North America, the Philadelphia, Los Angeles Philharmonic, Boston Symphony, Chicago Symphony, San Francisco Symphony and Montreal Symphony

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BEHZOD ABDURAIMOV PIANO

Other achievements have included First Prize at the Republican Competition in Uzbekistan in 1999, Grand Prix in the Competition ‘Le Muse’ in Agropoli, Italy, in 2003, and First Prize in the Missouri Southern International Piano Competition in 2008. That same year he won both the Lennox Young Artist Competition and the Corpus Christi International Competition in the USA and performed with the Richardson Symphony Orchestra in Dallas and the Corpus Christi Symphony Orchestra in Texas in 2009.

At the age of 18, Behzod Abduraimov achieved a sensational victory in the 2009 London International Piano Competition, winning first prize following an electrifying performance of Prokofiev’s Piano Concerto No. 3. This resulted in invitations to work with the Royal Philharmonic Orchestra (performing Tchaikovsky’s Piano Concerto No. 1 under Grzegorz Nowak) and the London Philharmonic Orchestra this evening. Last season Behzod toured to China and Kuala Lumpur with the Sydney Symphony Orchestra under Vladimir Ashkenazy to great critical acclaim. Following their successful collaboration, they appeared again as part of the 2010 Musikfest Bremen. During the 2010/11 season, Behzod will return to the Royal Philharmonic Orchestra and, having made a triumphant Wigmore Hall debut, he will give his debut recital at the Bozar in Brussels in addition to performances in Germany and North America. Since his first performance as a soloist at the age of eight with the National Symphony Orchestra of Uzbekistan, Behzod has given many concerts in the USA, Italy, Russia and Uzbekistan. He is invited annually to perform at the Spivakov International Charity Foundation in Moscow, the International Keyboard Institute and Festival in New York City, and the International Summer Piano Academy in Como, Italy.

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Behzod Abduraimov was born in Tashkent in 1990 and began to play the piano at the age of five. He was a pupil of Tamara Popovich at the Uspensky State Central Lyceum in Tashkent, and is currently pursuing a Bachelor’s Degree at the International Center for Music at Park University, Kansas City, studying with Stanislav Ioudenitch.

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PROGRAMME NOTES

SPEEDREAD Debussy made a famously introspective opera out of Maurice Maeterlinck’s shadowy play, Pelléas et Mélisande, but while he was still at work on it another French composer, Fauré, was commissioned to write incidental music for a London production of the play in 1898. He adapted three numbers for the concert hall and subsequently inserted the earlier Sicilienne to complete the suite that opens tonight’s concert. The play presents an eternal triangle of mostly hidden but fatal passion. Fauré had only six weeks to fulfil that commission. His teacher, Saint-Saëns, had had even less time to compose his Second Piano Concerto. He completed it in 17 days, borrowing – with permission – one of Fauré’s expressive

Gabriel FAURÉ

melodies for the first theme. The second movement is a light and graceful scherzo, and the concerto ends with a whirling finale in the style of a tarantella. Dvořák’s Eighth Symphony is the one that best reflects his love for his native Bohemia. It is also arguably the most charmingly tuneful. In the opening movement a bass theme and a playful high flute tune are combined to make the first subject, and an octave leap is a feature of the second. The second movement is a rustic idyll. A graceful allegretto follows, alternating between serious and happy moods. Then a fanfare launches the finale, which offers seven variations on a cello theme. © Eric Mason

SUITE: PELLÉAS ET MÉLISANDE, OP. 80 Prélude | Fileuse | Sicilienne | La mort de Mélisande

1845-1924

Maurice Maeterlinck’s shadowy symbolist play, Pelléas et Mélisande, was first produced in 1893 in Paris and attracted a number of composers around the turn of the century. The play has been called ‘an opera libretto in search of a composer’, and of course it found that composer in Debussy, whose opera reached the stage in 1902. Soon afterwards Schoenberg composed a symphonic poem on the subject, Cyril Scott an overture and Sibelius his well-known incidental music to the play. But first in the field was Fauré. In June 1898 nine performances of the play were given in English at the Prince of Wales Theatre, London, the title roles being played by Martin Harvey and Mrs. Patrick Campbell. That celebrated actress invited Fauré to write incidental music for them. She read to him in French the passages she felt most called for music. ‘Dear M. Fauré’, she recalled in her memoirs, ‘how

sympathetically he listened, and how humbly he said he would do his best! His music came – he had grasped with most tender inspiration the poetic purity that pervades and envelops M. Maeterlinck’s lovely play.’ Except for the Sicilienne written five years earlier, Fauré composed all the music in the six weeks at his disposal. Being pressed for time, he entrusted the orchestration to his pupil Charles Koechlin. Later that year, to make a concert suite for a larger orchestra, he extracted three numbers and expanded Koechlin’s scoring. The Sicilienne was added to the suite in 1909. The play is set long ago in imaginary Allemonde. Golaud, the king’s grandson, marries the ethereal Mélisande, who falls in love with his half-brother Pelléas. The jealous husband kills his rival; Mélisande, forgiving him, dies in childbirth. Summarised thus, the

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PROGRAMME NOTES

action sounds melodramatic, but the play deals with changing states of spiritual awareness; the drama is one of half-lights, omens and mostly hidden passions. The Prélude begins with a string theme that stands for Mélisande. After a sombre second theme the first returns with impassioned intensity, followed by the horn call of the approaching Golaud, lost like Mélisande in the forest. Fileuse (The Spinner) is the prelude to Act Three depicting Mélisande at the spinning wheel. Spinning semiquavers on muted violins support its oboe

Camille SAINT-SAËNS

melody. The Sicilienne, an entr’acte before the Act Two fountain scene, has a solo flute tune with harp accompaniment. A short E flat episode provides contrast. Before the last act Fauré laments the coming death of Mélisande with an intense Molto adagio in D minor. A thudding offbeat bass and restless melodic line evoke funereal grief. After the climax a rising theme suggests the release of the girl’s spirit to a less tormented world. © Eric Mason

CONCERTO NO. 2 IN G MINOR FOR PIANO AND ORCHESTRA, OP. 22 BEHZOD ABDURAIMOV piano Andante sostenuto | Allegro scherzando | Presto

1835-1921

The great Russian pianist Anton Rubinstein (1830-1894) was also a composer and conductor. Saint-Saëns, no mean pianist himself, was in his early twenties when he first earned Rubinstein’s admiration by playing the Russian’s huge Ocean Symphony on the piano at sight. A warm friendship developed between the two musicians, and Rubinstein eventually gave a series of concerts in Paris in which he played the piano and Saint-Saëns conducted. Then the Russian intimated that he would like to conduct a Paris concert. Saint-Saëns booked the Salle Pleyel for 13 May 1868 – a date just three weeks away – and promised to compose a piano concerto for himself to play under Rubinstein’s baton. He completed the Concerto in G minor in 17 days, but had little time left to practise the solo part and admitted that the performance was not satisfactory. Although the scherzo was an instant success, the rest did not please. Since then this concerto has become one of the composer’s most popular works, admired for the felicity of its formal structure, its airy textures and fine craftsmanship. The Polish pianist Sigismond Stojowski was less than fair to the concerto’s originality when he

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quipped that it ‘begins with Bach and ends with Offenbach’. Liszt was ‘singularly pleased’ by it, pointing out that Saint-Saëns ‘takes into account the effects of the pianist without sacrificing anything of the ideas of the composer’. Effect and idea are happily married at the outset in the piano’s unaccompanied introduction, a long passage of florid sequences and arpeggios clearly inspired by Bach but novel in a 19th-century French concerto. After a brief orchestral passage the soloist announces the expressive first theme. This was actually written by the composer’s pupil, Fauré, as a Tantum Ergo for voice and organ, but the teacher persuaded Fauré to make him a gift of the melody, which is nicely suited to its context here. Dramatic exchanges between piano and orchestra lead to the lyrical second subject in B flat. A more animated section reaches its climax with the return of the first theme fortissimo on unison strings against crashing double octaves on the piano. After a piano cadenza based on figures from the first theme and following passage the movement ends with references back to the introduction.

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PROGRAMME NOTES

Mendelssohn would not have been ashamed to have written the light and graceful scherzo. The main subject is played by piano and orchestra in turn and then elaborated, and the cellos introduce a broader second theme. The discreet but effective part for the timpani is typical of the composer’s masterly orchestration.

piano introduces two themes, the second a rhythmical flourish in octaves with a four-note reply from the orchestra. Another piano theme, an angular melody with trills, completes the basic material of the movement, which proceeds with unflagging energy to a merry conclusion.

The Presto finale is in the style of a tarantella. Piano and orchestra start the whirling dance rhythm, and the

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

Antonín DVOŘÁK

SYMPHONY NO. 8 IN G, OP. 88 Allegro con brio | Adagio | Allegretto grazioso | Allegro ma non troppo

1841-1904

Following one of the occasional disagreements he had with his German publisher, Dvořák arranged for the British firm of Novello to publish this Symphony in G. Hence the work was once known as his ‘English’ symphony. The first performance was on 2 February 1890 in Prague under the composer’s direction. London heard the new symphony two months later, and the composer also conducted a performance as his ‘exercise’ when he received an honorary doctorate at Cambridge University in June 1891. The symphony quickly became popular, being the most national in flavour of Dvořák’s nine. Composed between September and November 1889, it belongs to a period when his creative ideas were flowing with especial ease. It charms the listener by its tunefulness, rhythmic felicity and the fresh, individual scoring that was one of its composer’s most disarming musical traits.

With seven symphonies behind him Dvořák was technically equipped to venture some departures from conventional symphonic form. So the Eighth Symphony opens with two strongly contrasted ideas – a dignified G minor theme in the bass and an innocently playful flute tune high up in G major – whose elements are then combined to make up the first subject. After a climax a transitional string melody leads to the B minor second subject, a theme with an octave leap for flutes and clarinets, and there follows a vigorously grandiose pendant theme to cap the exposition. The G minor opening passage reappears quietly at the start of the development and again in a fully-scored version with trumpets to herald a shortened reprise. The second movement may be taken as a reflection on Czech village life and the idyllic peace of the countryside that Dvořák loved so much. A touch of pathos is felt in

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PROGRAMME NOTES

the C minor meditation of the strings, punctuated by suggestions of birdsong on flutes and oboes. Anxiety briefly intrudes, but the key changes to C major and against descending scales on the violins a flute and oboe introduce a long, lyrical second subject, to which a solo violin replies. A climax is reached and gives way to a varied reprise: first the birdcalls, then the opening theme, which rises to a big climax making the formerly implied pathos explicit. For the second subject reprise the previous roles are reversed, the tune appearing in the strings and the descending scales on woodwind. As simple as it is charming, the graceful third movement has the character of the Slavonic dumka with its alternation between melancholy and cheerful moods. A flowing G minor theme is introduced by the violins with an undulating woodwind accompaniment and repeated in different scoring. The contrasting trio

section is a G major waltz with a syncopated accompaniment. The minor-key section is repeated in full, and the movement ends with a lively coda, which is a speeded up version of the trio theme. For the finale Dvořák adopts variation form. The movement begins with a trumpet fanfare, heralding a theme on cellos that derives from the flute tune at the beginning of the symphony. Seven variations follow in rapid succession, the fifth in C minor (begun by oboes and clarinets) being march-like. The return of the fanfare on horns and trumpets leads to the cellos’ resumption of the theme, which is repeated several times in varying instrumental dress. The tempo gradually slackens until the full orchestra re-enters and whirls the symphony to a bright and noisy conclusion. © Eric Mason

Meet the Players Reception The London Philharmonic Orchestra has always been made to feel welcome in Brighton and we are delighted that our seaside audience continues to grow. As a special thank you for their support, audience members who have booked for all four concerts in the London Philharmonic Orchestra’s Brighton season have been invited to a special Meet the Players reception at tonight’s concert. We are grateful to our sponsors Villa Maria wines and Heineken for supporting this evening’s event.

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BRIGHTON DOME CHIEF EXECUTIVE ANDREW COMBEN

FUTURE CONCERTS AT BRIGHTON DOME

Saturday 27 November 2010 | 7.30pm

Ticket Office 01273 709709 www.brightondome.org

Mozart Piano Concerto No. 25 in C, K503 Bruckner Symphony No. 9 Günther Herbig conductor Andreas Haefliger piano

WELCOME TO BRIGHTON DOME 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 permitted in the auditorium.

Günther Herbig and Andreas Haefliger

Saturday 26 February 2011 | 7.30pm Schubert Overture, Rosamunde Rachmaninov Piano Concerto No. 3 Beethoven Symphony No. 7 Danail Rachev conductor Sofya Gulyak piano

MOBILES, PAGERS AND WATCHES should be switched off before entering the auditorium. Thank you for your co-operation. The concert at Brighton Dome on 2 October 2010 is presented by the London Philharmonic Orchestra with assistance from Brighton Dome.

Danail Rachev and Sofya Gulyak

Saturday 11 June 2011 | 7.30pm Tchaikovsky Symphony No. 1 (Winter Daydreams) Dvořák Cello Concerto Dmitry Sitkovetsky conductor Yan Levionnois cello

Brighton Dome gratefully acknowledges the support of Arts Council England and Brighton & Hove City Council. Brighton Dome is managed by Brighton Dome and Festival Ltd which also runs the annual three-week Brighton Festival in May. www.brightonfestival.org

TO BOOK

Call the Ticket Office on 01273 709709 Book online at www.brightondome.org Tickets £27.50, £23, £18, £15, £10 Premium Seats £32.50

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LONDON PHILHARMONIC ORCHESTRA

Seventy-eight years after Sir Thomas Beecham founded the London Philharmonic Orchestra, it is recognised today as one of the finest orchestras on the international stage. Following Beecham, the Orchestra’s Principal Conductorship has been passed from one illustrious musician to another, amongst them Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2007 Vladimir Jurowski became the Orchestra’s twelfth Principal Conductor and in 2008 Yannick NézetSéguin was appointed Principal Guest Conductor. Julian Anderson became the Orchestra’s Composer in Residence in 2010. The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It also has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. In summer, it plays for Glyndebourne Festival Opera where it has been the Resident Symphony Orchestra since 1964. The Orchestra performs to enthusiastic audiences all round the world. In 1956 it became the first British orchestra to appear in Russia and in 1973 it made the first ever visit to China by a Western orchestra. Tours in 2010/11 include visits to Finland, Germany, South Korea,

France, Belgium and Luxembourg. Touring is supported by Aviva, the International Touring Partner of the London Philharmonic Orchestra. Having long been embraced by the recording, broadcasting and film industries, the London Philharmonic Orchestra broadcasts regularly on domestic and international television and radio. It also works with the Hollywood and UK film industries, recording soundtracks for blockbuster motion pictures including the Oscar-winning score for The Lord of the Rings trilogy. The London Philharmonic Orchestra made its first recordings on 10 October 1932, just three days after its first public performance. It has recorded regularly ever since, and in 2005 established its own record label. The recordings are also widely available to download. Visit www.lpo.org.uk/shop for the latest releases. The Orchestra reaches thousands of Londoners through its rich programme of community and school-based activity in Lambeth, Lewisham and Southwark, which includes the offshoot ensembles Renga and The Band, its Foyle Future Firsts apprenticeship scheme for outstanding young instrumentalists, and regular family and schools concerts.

“nothing if not inventive” BBC Radio 3 Artists include The Sixteen, Emma Kirkby, International Baroque Players, Red Priest and Passacaglia G baroque masterpieces by Handel, Purcell, Vivaldi and Corelli, including Music for the Royal Fireworks and the Four Seasons with the BREMF Players with Alison Bury G 400th anniversary performance of Monteverdi 1610 Vespers G Three BBC Radio 3 broadcasts from the festival G

RITUAL 22nd October to 7th November

Info/brochure: www.bremf.org.uk or 01273 833746 Tickets: www.bremf.org.uk or Brighton Dome Ticket Office 01273 709709

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We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group Mr & Mrs Richard & Victoria Sharp Julian & Gill Simmonds Mrs Steven Ward Simon Yates & Kevin Roon Garf & Gill Collins Andrew Davenport David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett

Mr Daniel Goldstein Mrs Barbara Green Oliver Heaton Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland

Guy & Utti Whittaker Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mrs Sonja Drexler Mr Charles Dumas David Ellen Commander Vincent Evans

Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Marika Cobbold & Michael Patchett-Joyce Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough Ken Follett

Michael & Christine Henry Mr Glenn Hurstfield Mr R K Jeha Mr & Mrs Maurice Lambert Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh John Montgomery Mr & Mrs Egil Oldeide Edmund Pirouet Mr Peter Tausig Mrs Kazue Turner Lady Marina Vaizey Mr D Whitelock Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged. Corporate Members Appleyard & Trew llp AREVA UK British American Business Brown Brothers Harriman Charles Russell Destination Québec – UK Diagonal Consulting Lazard Leventis Overseas Man Group plc Québec Government Office in London Corporate Donor Lombard Street Research In-kind Sponsors Google Inc Heineken The Langham London Lindt & Sprüngli Ltd Sela / Tilley’s Sweets Villa Maria

Trusts and Foundations Allianz Cultural Foundation The Andor Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust The Candide Charitable Trust The John S Cohen Foundation The Coutts Charitable Trust The Dorset Foundation The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Eranda Foundation The Ernest Cook Trust The Fenton Arts Trust The Foyle Foundation The Jonathan & Jeniffer Harris Trust The Idlewild Trust The Emmanuel Kaye Foundation Maurice Marks Charitable Trust The Michael Marks Charitable Trust Marsh Christian Trust UK Friends of the FelixMendelssohn-Bartholdy Foundation

The Mercers’ Company Adam Mickiewicz Institute Paul Morgan Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The R K Charitable Trust Serge Rachmaninoff Foundation The Rubin Foundation The Samuel Sebba Charitable Trust Sound Connections The Steel Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Sir Jules Thorn Charitable Trust The Underwood Trust Garfield Weston Foundation Youth Music and others who wish to remain anonymous.

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