London Philharmonic Orchestra programme 7 February 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 supported by the Tsukanov Family Foundation Leader pieter schoeman supported by Neil Westreich Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 7 February 2015 | 7.30pm

Rachmaninoff Three Russian Songs, Op. 41 (14’) Rachmaninoff Spring: Cantata, Op. 20 (17’) Interval Enescu Symphony No. 3 in C* (50’)

Contents 2 Welcome LPO 2015/16 season launch 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Andrei Bondarenko 8 London Philharmonic Choir 9 Trinity Boys Choir 10 Programme notes 18 Next concerts 19 Rachmaninoff: Inside Out 20 LPO recordings recent releases 21 2015/16 season 22 Supporters 23 Sound Futures donors 24 LPO administration The timings shown are not precise and are given only as a guide.

Vladimir Jurowski conductor Andrei Bondarenko baritone London Philharmonic Choir Trinity Boys Choir In co-operation with the Serge Rachmaninoff Foundation

* Supported by the Romanian Cultural Institute

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Free pre-concert event 4.00–6.00pm | Royal Festival Hall Rex Lawson and Denis Hall, of the Pianola Institute, give a unique performance of Rachmaninoff piano rolls.

Welcome

Welcome to Southbank Centre

London Philharmonic Orchestra 2015/16 season launch

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.

Booking is now open for our new season. Browse the concerts at lpo.org.uk.

Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

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

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 Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Grace Lee Rebecca Shorrock Alina Petrenko Galina Tanney Caroline Frenkel Peter Nall Caroline Sharp Second Violins Thomas Norris Guest Principal Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Joseph Maher Ashley Stevens Floortje Gerritsen Sioni Williams Harry Kerr Mila Mustakova Stephen Stewart John Dickinson Nilufar Alimaksumova Gavin Davies Sheila Law Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich

Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter* Laura Vallejo Isabel Pereira Naomi Holt Daniel Cornford Alistair Scahill Martin Fenn Sarah Malcolm Cellos Kristina Blaumane Principal Kristaps Bergs Francis Bucknall Laura Donoghue Santiago Carvalho † David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Tom Roff Helen Rathbone Double Basses Kevin Rundell* Principal Laurence Lovelle George Peniston Richard Lewis William Cole Kenneth Knussen Helen Rowlands Charlotte Kerbegian Ben Wolstenholme Catherine Ricketts Flutes Alja Velkaverh Guest Principal Sue Thomas* Chair supported by Victoria Robey OBE

Joanna Marsh Julia Crowell Stewart McIlwham* Piccolos Stewart McIlwham* Principal Julia Crowell

Alto Trumpet Daniel Newell

Oboes Ian Hardwick* Principal Alice Munday Helen Vigurs Sue Böhling

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

Cors Anglais Sue Böhling* Principal Helen Vigurs

John Randall Andrew Connington Valve Trombone David Whitehouse

Clarinets Robert Hill* Principal Thomas Watmough Emily Meredith

Bass Trombones Lyndon Meredith Principal Sam Freeman

Bass Clarinet Paul Richards Principal

Tuba Lee Tsarmaklis* Principal

E-flat Clarinet Thomas Watmough Principal

Chair supported by Friends of the Orchestra

Euphoniums Andy Wood Lyndon Meredith

Bassoons Jos Lammerse Guest Principal Gareth Newman Stuart Russell Simon Estell

Timpani Simon Carrington* Principal Barnaby Archer

Contra Bassoon Simon Estell Principal

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Horns David Pyatt* Principal Chair supported by Simon Robey

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

Nicholas Betts Co-Principal Robin Totterdell Cornets Daniel Newell David Hilton Piccolo Trumpet Nicholas Betts

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

Tom Edwards Keith Millar Jeremy Cornes Sarah Mason Ignacio Molins Harps Rachel Masters* Principal Lucy Haslar Piano Catherine Edwards Celeste Clíodna Shanahan Organ James Sherlock * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Meet our members: lpo.org.uk/players

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London Philharmonic Orchestra

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

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soloists. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long The Rest Is Noise festival, charting the influential works of the 20th century. 2014/15 highlights include a seasonlong festival, Rachmaninoff: Inside Out, exploring the composer’s major orchestral masterpieces; premieres of works by Harrison Birtwistle, Julian Anderson, Colin Matthews, James Horner and the Orchestra’s new Composer in Residence, Magnus Lindberg; and appearances by many of today’s most soughtafter artists including Maria João Pires, Christoph Eschenbach, Yannick Nézet-Séguin, Osmo Vänskä, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labèque and Robin Ticciati. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer it takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra.

Pieter Schoeman leader

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

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 80 releases available on CD and to download. Recent additions include organ works by Poulenc and Saint-Saëns with Yannick Nézet-Séguin; Strauss’s Don Juan and Ein Heldenleben with Bernard Haitink; Shostakovich’s Symphonies Nos. 6 & 14 and Zemlinsky’s A Florentine Tragedy with Vladimir Jurowski; and Orff’s Carmina Burana with Hans Graf. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter.

Touring remains a large part of the Orchestra’s life: highlights of the 2014/15 season include appearances across Europe (including Iceland) and tours to the USA (West and East Coasts), Canada and China.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.

Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7

In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich. London Philharmonic Orchestra | 5

Vladimir Jurowski Principal Conductor and Artistic Advisor

Quite apart from the immaculate preparation and the most elegant conducting style in the business, Jurowski programmes with an imagination matched by none of London’s other principal conductors. © Thomas Kurek

The Arts Desk, December 2012

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin, New York and St Petersburg Philharmonic orchestras; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

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His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra national de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. lpo.org.uk/about/jurowski

Watch a video of Vladimir Jurowski introducing the LPO 2014/15 season: lpo.org.uk/whats-on/season14-15.html

Andrei Bondarenko baritone

“The baritone Andrei Bondarenko is a delight with his honeyed, even tone and faultless phrasing.”

Andrew Clements, The Guardian, April 2014

The young Ukrainian baritone Andrei Bondarenko has worked extensively with leading conductors including Valery Gergiev, Ivor Bolton, Yannick Nézet-Séguin, Vladimir Ashkenazy, Enrique Mazzola, Kirill Karabits, Andrew Litton, Teodor Currentzis, Michael Sturminger, Omer Meir Wellber and Mikhail Tatarnikov. This season and beyond, his engagements include: the Count (The Marriage of Figaro) at the Teatro Real Madrid, Robert (Iolanta) with the Gürzenich Orchestra, Marcello (La bohème) at Bayerische Staatsoper Munich and the Opernhaus Zürich, Eugene Onegin and Iolanta for the Dallas Opera, Belcore L’Elisir d’Amore for Israeli Opera, Eugene Onegin in Sao Paolo, as well as Billy Budd at the Cologne Opera. He will also record the title role in Don Giovanni for Sony Classics. Recent highlights include Eugene Onegin for Oper Köln, Staatstheater Stuttgart and Glyndebourne Festival, Andrei in War and Peace in a new production for the Mariinsky Theater, his solo recital debut at the Wigmore Hall accompanied by Gary Matthewman, and his participation in Rolando Villazon’s TV show Stars von Morgen broadcast on ARTE TV, both in France and Germany. Andrei has recorded The Marriage of Figaro for Sony Classics, Rachmaninoff songs with Iain Burnside at the Queens Hall in Edinburgh for Delphian Records as well as the highly acclaimed Lieutenant Kijé Suite on the BIS label. Despite his youth, he has already appeared at the Salzburg Festival, Carnegie Hall, Wigmore Hall, Glyndebourne Festival and Touring Opera, Teatro Colon, Cologne Opera, Sydney Opera House, Perm State Opera

and Mariinsky Theatre. He also gave his role debut as Billy in Billy Budd in the first ever production in Russia at the Mikhailovsky Theatre, St Petersburg. He sang in the theatre/opera project, The Giacomo Variations, alongside John Malkovich and has toured extensively with Larissa Gergieva. Andrei took part in the Salzburg Festival Young Singers Project, following which he returned to the Festival for Gounod’s Romeo and Juliet with Yannick Nézet-Séguin and Le rossignol with Ivor Bolton. Andrei won the 2011 BBC Cardiff Singer of the World Song Prize, was awarded a diploma at the Ukrainian competition ‘New Ukrainian Voices’ and won first prize at the international vocal competition ‘Art in the 21st Century’ in Vorzel (Ukraine). He was a prizewinner at the 2006 International Rimsky-Korsakov vocal competition in St. Petersburg, the 2008 allRussian Nadezhda Obuhova Young Vocalists’ Festival and Competition, and the 7th International Stanisław Moniuszko Vocal Competition in 2010. Andrei was born in 1987 in Kamenez-Podolsky, Ukraine. Since 2007 he has been a soloist of the Mariinsky Academy of Young Singers. In 2003 he entered the vocal department of the National Tchaikovsky Academy of Music in Kiev, Ukraine and in 2004 was admitted to the vocal department of the Kiev Conservatory. He then became a soloist of the Ukraine National Philharmonic Society. Andrei Bondarenko sings with the London Philharmonic Orchestra and Choir again this coming Wednesday 11 February, performing Rachmaninoff’s choral symphony, The Bells.

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London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Ian Frost | Choir Manager Tessa Bartley

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for more than 65 years and made numerous recordings for CD, radio and television. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. As part of Southbank Centre’s The Rest Is Noise festival, the Choir performed Arvo Pärt’s Magnificat and Berlin Mass, Shostakovich’s Symphony No. 13 (Babi Yar), Poulenc’s Stabat Mater, Britten’s War Requiem, Stravinsky’s Symphony of Psalms, Orff’s Carmina Burana, Tippett’s A Child of Our Time and John Adams’s El Niño. In early 2014 the Choir performed Julian Anderson’s Alleluia – which it premiered at the reopening of Royal Festival Hall in 2007 – and Beethoven’s Symphony No. 9 under Vladimir Jurowski, repeating the latter at the Théâtre des Champs-Elysées, Paris. In November 2014 the Choir was delighted to perform Mahler’s Symphony No. 2 under the Orchestra’s new Principal Guest Conductor Designate Andrés Orozco-Estrada, and looks forward to performances of Ravel’s Daphnis et Chloé and Janáček’s Glagolitic Mass this season.

Sopranos Annette Argent, Hilary Bates, Catherine Boxall, Hannah Boyce, Anisoara Brinzei, Laura Buntine, Whitney Burdge, Olivia Carter, Paula Chessell, Emily Clarke, Emma Craven, Sarah Deane-Cutler, Victoria Denard, Lucy Doig, Jessica Eucker, Rachel Gibbon,Jane Goddard, Anna Greco, Emma Hancox, Sally Harrison, Carolyn Hayman, Louisa Hungate, Laura Hunt, Georgina Kaim, Mai Kikkawa, Jenni Kilvert, Judith Kistner, Olivia Knibbs, Clare Lovett, Natasha Maslova, Janey Maxwell, Alexandra May, Meg McClure Tynan, Adi McCrea, Carmel Oliver, Lydia Pearson, Marie Power , Kathryn Quinton, Danielle Reece-Greenhalgh, Rebecca Schendel, Cathy Stockall, Susan Thomas, Susan Watts, Charlotte Wielgut Altos Deirdre Ashton, Sally Brien, Andrei Caracoti, Noel Chow, Yvonne Cohen, Sheila Cox, Fiona Duffy-Farrell, Andrea Easey, Carmel Edmonds, Romaine Gerber, Kathryn Gilfoy, Henrietta Hammonds, Kristi Jagodin, Charlotte Kingston, Andrea Lane, Emma MacDonald, Lisa MacDonald, Ayla Mansur, Michelle

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The Choir appears regularly at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir performed at the Doctor Who Proms in 2008, 2010 and 2013, and in 2011 appeared in Verdi’s Requiem, Liszt’s A Faust Symphony and Beethoven’s Missa Solemnis. In 2012 it performed Elgar’s The Apostles with Sir Mark Elder and Howells’s Hymnus Paradisi under Martyn Brabbins. Last year’s Proms season included Walton’s Henry V with the Academy of St Martin in the Fields and John Hurt under Sir Neville Marriner, who at 90 years old now holds the record as the oldest conductor to lead a Proms concert. A well-travelled choir, it has visited numerous European countries and appeared in Kuala Lumpur, Hong Kong and Perth, Australia. Members of the Choir performed Weill’s The Threepenny Opera in Paris, with a repeat performance in London. In 2012 and 2014 it appeared at the Touquet International Music Masters Festival in France, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit lpc.org.uk

Marple, Sophie Morrison, Rachel Murray, Angela Pascoe, Carolyn Saunders, Muriel Swijghuisen Reigersberg, Catherine Travers, Susi Underwood, Jenny Watson, Philippa Winstanley Tenors Scott Addison, David Aldred, Geir Andreassen, Chris Beynon, Kevin Darnell, Fred Fisher, Iain Handyside, Stephen Hodges, Patrick Hughes, Tony Masters, Knut Olav Rygnestad, Keith Saunders, Jaka Škapin, Owen Toller, Martin Yates Basses Martyn Atkins, Geoff Clare, John Clay, Bill Cumber, Phillip Dangerfield, Marcus Daniels, Leander Diener, Paul Fincham, Ian Frost, Christopher Gadd, Nick Hennell-Foley, Mark Hillier, Stephen Hines, David Hodgson, Martin Hudson, Steve Kirby, Anthony McDonald, John D Morris, John G Morris, Rob Northcott, Will Parsons, Johan Pieters, Mike Probert, Jonathan Riley, John Salmon, Ed Smith, Daniel Snowman, Tom Stevenson, Alex Thomas, James Torniainen, Hin-Yan Wong, John Wood

Trinity Boys Choir Director David Swinson

Trinity Boys Choir is currently celebrating the 50th anniversary since its first professional engagement in 1965. The boys frequently appear on such prestigious stages as Glyndebourne, the Royal Opera House, Covent Garden, English National Opera and at various opera houses abroad, including the Opera Comique, Paris, La Fenice, Venice, and at the Aix-en-Provence Festival. The choir is especially well known for its role in Britten’s A Midsummer Night’s Dream, in which it has appeared in over 150 professional performances, on the Warner DVD, the Virgin Classics CD and Glyndebourne’s own label CD. Recent operatic engagements include the Royal Opera House, Glyndebourne, English National Opera, and theatres in the USA, Belgium, Israel and Italy. On the concert platform, the Choir is regularly invited to perform at the BBC Proms, and was honoured to perform in Her Majesty the Queen’s 80th Birthday Prom Concert at the Royal Albert Hall in 2006. The boys have performed with all the major London orchestras, and with Sir John Eliot Gardiner and his Monteverdi Choir in Spain, Germany, Italy and the UK. Trinity Boys Choir has also been invited to perform in Vienna with the Vienna Boys Choir, as well as throughout Europe and Asia. The choir appears annually at the Wachock Abbey Bach Festival in Poland.

Ross Ah-Weng Joshua Albuquerque Hugo Barry-Casademunt Graham Bass Nicholas Challier Ming-Ho Cheung Harry Cookson Jamie Coskun Gabriel Crozier Charlie Davies William Davies Owen Davis Buster Dickinson Sebastian Exall

Soloists from the choir have recently appeared at the Krakow Film Festival, at Amsterdam’s Concertgebouw and in the Konzerthaus, Vienna. The Choir’s many recordings include John Rutter’s Bang, an opera written for the boys, Britten’s A Boy Was Born with the BBC Symphony Chorus, Walton’s Henry V with the BBC Symphony Orchestra and the BBC Singers, and Carmina Burana with the London Philharmonic Orchestra. The recent ‘A Cappella’ recording was CD of the Month in Organists’ Review. TV appearances have included The Royal Variety Performance, the Pride of Britain Awards and Children in Need. Last Easter the boys featured alongside the Gabrieli Consort in a BBC2 documentary about the early London performances of Handel’s Messiah. The boys can also be heard on the soundtracks of the Disney blockbuster Maleficent, Angelina Jolie’s Unbroken and The Hunger Games:Mockinjay – Part 1.

Ben Fairman Isaac Flanagan Theo Flanagan Hamish Frost Daniel Gilbert Matthew Gilbert Alex Green William Hardy Amiri Harewood Ben Hill Joshua Kenney Gabriel Kuti Theo Lally Daniel Le Maitre-George

Harry Lees Haig Lucas Thomas Manzaroli Joel Okolo-Hunter Kishan Patel Ben Peck Lucas Pinto Samuel Richardson Krishan Shah Andrew Sinclair-Knopp Roman Southcombe William Stone Daniel Williams Ben Withnell

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Programme notes

Speedread Serge Rachmaninoff and George Enescu were two of the most celebrated performers of their day: Rachmaninoff as a virtuoso pianist and a conductor; Enescu as a solo violinist, a pianist of concert standard and a conductor, especially in his native Romania. Both were also leading composers, and not only for their own instruments. As this evening’s programme demonstrates, both were masters of writing for large orchestral forces with chorus. Rachmaninoff’s most ambitious work for chorus and orchestra is the 1913 choral symphony The Bells, to be performed in this series next Wednesday. Tonight’s programme includes his two smaller works in the same category: his 1926 arrangement of three Russian folk songs; and his 1902 cantata Spring,

Serge Rachmaninoff 1873–1943

Rachmaninoff’s choral music falls into two categories: several works for unaccompanied choir, mostly sacred – in accordance with the Orthodox prohibition of instruments in worship – and including the great All-Night Vigil (the so-called ‘Vespers’); and three works for chorus and large orchestra, of which the biggest is the choral symphony The Bells. The latest of these is the set of arrangements of three Russian folk songs, which Rachmaninoff made in 1926, eight years after leaving Russia to settle in the USA. It was first performed in Philadelphia in March 1927 – when it was given a better reception than the Fourth Piano Concerto, premiered in the same concert with the composer as soloist. Leopold Stokowski conducted the Philadelphia

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a setting of a poem by Nikolay Nekrasov in which a peasant plans to murder his unfaithful wife, but abandons the idea when spring arrives. Among Enescu’s major works is the last of his three (completed) symphonies. This was begun in 1916, shortly before Romania entered the First World War, and completed in 1918. Its three-movement plan – wide-ranging first movement, scherzo and slow finale – has been interpreted in terms of the Inferno, Purgatory and Paradise of Dante’s Divine Comedy, or more straightforwardly the realms of earth, hell and Paradise. The serene finale, with its use of wordless chorus and organ, certainly seems to suggest a vision of heaven.

Three Russian Songs, Op. 41 London Philharmonic Choir 1 Over a brook, a swift-running brook 2 Oh, Vanka, what a hothead you are 3 White of my cheeks, blush of my cheeks!

Orchestra and the Toronto Mendelssohn Choir, reportedly augmented by some local Russian Orthodox priests with low bass voices. The work is scored for a chorus of altos and basses, mostly singing in a single line, with a large orchestra including piano, harps and a substantial percussion section. It is based on songs that Rachmaninoff, no expert in folk music, would have heard sung by fellowperformers. ‘Over the River’ was frequently sung by his friend Fyodor Chaliapin, the great Russian bass; here it is assigned to unison basses. The song describes a drake being abandoned by his mate: although Rachmaninoff indulges in some orchestral quacks,

he brings great seriousness to bear on the duck’s panic and the drake’s desolation. ‘O Vanka’ was also sung by Chaliapin, who is said to have learned it from his mother. It is the song of a wife whose husband is leaving her for the winter, in order to live with his father. It is sung by unison altos; they depart from the tune only after the final verse, when two hummed chromatic descents through an octave merge with the orchestra’s lamentation. ‘Powder and Paint’ is a song from Kursk from the repertoire of the popular singer Nadezhda Plevitskaya, who recorded it with Rachmaninoff in his arrangement for voice and piano in February 1926. It is the song of a coquettish wife who has been flirting harmlessly, and who now expects to be beaten by her

husband with a silken whip. The melody is sung by altos and basses, mostly in octaves but sometimes in alternation and occasionally breaking into two or three parts, as part of continual changes rung on the simple tune with its three-bar phrases. Rachmaninoff’s orchestral arrangement is in strict march time, and suggests the sounds of the balalaika and the husband’s chastisement.

Three Russian Songs text I Over a brook, a swift-running brook Cherez rechku, rechku bystru, Po mostochku, kalina, Po krutomu, malina, Selzenat perekhodit, Po mostochku, kalina, Perekhodit, malina! Seru utku perevodit, Seru utku, kalina, Perevodit, malina! Sera utka ispugalas, Ispugulas kalina, Uletela, malina! A! Selezen stoit, plachet, Stoit, plachet, kalina, Stoit, plachet, malina!

Over a brook, a swift-running brook, across a little bridge, kalina, a steep little bridge, malina, a drake is making his way across, across the bridge, kalina, making his way, malina! He leads across a grey duck, a grey duck, kalina, he leads across, malina! The grey duck, she takes fright, takes fright, kalina, flies away, malina! Ah! The drake stands there weeping, stands weeping, kalina, stands weeping, malina!

Please turn the page quietly London Philharmonic Orchestra | 11

Texts continued

2 Oh, Vanka, what a hothead you are! Akh, ty, Vanka, razudala golova, da! Razudalaya goluvushka, Vanka, tvoya! Skol daleche otyezzhayesh ot menya, da na kovo ty pokidayesh, milyi drug, menya? Akh, ni na brata, ni na druga svoyevo, da! A na svyokra, na zlodeya, Da, Vanka moyevo. S kem ya ostanus etu zimu zimavat, da! S kem ya budu tyomnu nochku, Vanka, karatat? A!

Oh, Vanka, what a hothead you are! What a hot little head you’ve got! How far are you going away from me, who are you leaving me for, dear love? Oh, not for a brother, not for a friend, no, but for a villainous father-in-law, my Vanka. Who shall I be left with to pass the winter who shall I spend the dark nights with, Vanka? Ah!

3 White of my cheeks, blush of my cheeks! Belilitsy, rumyanitsy, vy moi! Sokatites so litsa bela doloy, Yedet moy revnivy muzh domoy. Ay lyuli, ay da, lyushenki li! Yedet moy revnivyi muzh domoy, On vezyot podarok dorogoy. Ah da! Ay da! On vezyot podarok, dorogoy, Pletyonuyu sholkovuyu batozhu! Khochet menya, molodu, pobit. Ya zh ne znayu i ne vedayu, za shto, Z kakuyu, za takuyu za byadu. Tolko bylo vsey moyey to tut byady: U soseda na besede ya byla, Suprotivu kholastova sidela, Kholastomu stakan myodu podnesla. Khalastoy skan myodu prininimal, Ka stakanu bely ruki prikhimal, Pri narode sudarushkoy nazyval. Ty, sudarushka, lebyodushka moya, Ponravilas pokhodushka tvoya. Belilitsy, rumyanitsy vy mai! Sokatites sa litsa bela doloy. Yedet moy revnivyi muzh domoy, Khochet menya, molodu, pobit. Pravo slovo, khochet on menya pobit, Ya zh ne znayu i ne vedayu za shto.

White of my cheeks, blush of my cheeks! Flow, my tears, for my jealous husband is riding home. Ay lyuli, ay da, lyushenki li! My jealous husband is riding home, bringing a precious gift. Ay da! Ay da! He is bringing a precious gift, a braided silken whip! He wants to beat me, young as I am, but I don’t know why, I don’t see what harm I’ve done. All the harm I ever did was this: I went to visit our neighbour, sat across from this single lad and offered him a cup of mead. As he took the cup of mead he pressed my white hands to the cup and called me a lady in public. ‘You, my lady, swan-like lady, how beautifully you carry yourself!’ White of my cheeks, blush of my cheeks! Flow, my tears, for my jealous husband is riding home, he wants to beat me, young as I am, that’s the truth, he wants to beat me, but I don’t know why.

Text and translation reprinted with kind permission from the Decca Music Group Ltd

The Decca recording of the Op. 41 songs is available on CD 440 3552.

12 | London Philharmonic Orchestra

Programme notes continued

Serge Rachmaninoff

Spring: Cantata, Op. 20 Andrei Bondarenko baritone London Philharmonic Choir

1873–1943

Rachmaninoff’s first work for chorus and orchestra was the cantata Spring, written in the first months of 1902 and first performed in Moscow that March. This was only a few months after the premiere of the Second Piano Concerto, with which the cantata has some melodic affinities – though its tonality of E, its proliferating triplet rhythms and its sombre colouring also anticipate the Second Symphony of 1906–7. The scoring is for large orchestra, mixed chorus and a solo voice that Rachmaninoff designated as baritone, though he seems to have conceived the part with the bass voice of his friend Chaliapin in mind. The work is a setting of a poem by the 19th-century writer Nikolay Nekrasov, ‘The sounds of green’. This tells the story of a peasant who in the depths of winter plans to kill his unfaithful wife; but the coming of spring – which in Russia brings a complete, sudden transformation of the frozen landscape – stays his hand, and induces a new feeling of compassion. The orchestral introduction depicts the approach of spring; the chorus joins in to describe the first rustling sounds of the changing season. In a monologue of operatic declamation, the protagonist describes the uneasy winter spent cooped up with his wife in their hut; his despairing cry of ‘Kill, kill the betrayer’ is reinforced by the chorus, adding a series of wordless descending wails in octaves, and then resolutely

echoing his own words. As he picks up the knife, the orchestral music associated with the spring returns, and the chorus resumes and amplifies its description of the new season. A radiant cello melody, over harp arpeggios, presages the peasant’s change of mind and his hymn to love and forgiveness – which is taken up by the chorus, to its own music of the spring, before the subdued ending. Text overleaf

Recommended recordings of tonight’s works Rachmaninoff: Three Russian Songs Philadelphia Orchestra/Charles Dutoit [Decca 440 3552] Enescu: Symphony No. 3 BBC Philharmonic Orchestra/Rozhdestvensky [Chandos]

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

London Philharmonic Orchestra | 13

Spring text

Chorus Idyot-gudyot zelyonyi shum, Zelyonyi shum, vesenniy shum!

They come rustling, the sounds of green, the sounds of green, the sounds of spring!

Igrayuchi raskhoditsya Vdrug veter verkhovoy: Kachnyot kusty olkhoviye, Podnimet pyl tsvetochnuyu, Kak oblako: vsyo zeleno, I vozdukh, i voda.

All of a sudden the wind rises, swirls, playfully takes command: it shakes the alder groves, stirs up ﬂower-dust like a cloud; everything turns green: even the air and the waters.

Idyot-gudyot zelyonyi shum, etc.

They come rustling, the sounds of green, etc.

Baritone Skromna moya khozyayushka Natalya Patrikeyevna, Vody ne zamutit! Da s ney beda sluchilasya, Kak leto zhil ya v gorode … Sama skazala, glupaya.

My sweet, modest wife, Natalya Patrikeyevna, isn’t one to stir things up! But she got herself into trouble that summer I spent in town … She told me herself, the fool.

V izbe sam drug s obmanshchitsey Zima nas zaperla V moi glaza suroviye Glyadit – molchit zhena. Molchu … a duma lyutaya Pokoya ne dayot: Ubit … tak zhal serdechnuyu! Sterpet – tak sily nyet! A tut zima kosmataya Revyot i den, i noch: ‘Ubey, ubey izmennitsu! Zlodeya izvedi! Ne to ves vyek promayeshsya, Ni dnyom, ni dolgoy nochenkoy Pokoya ne naidyosh …’ Pod pesnyu-vyugu zimnuyu Okrepla duma lyutaya –

Together in our hut, me and the woman, winter kept us prisoner; my wife stared into my stern eyes and remained silent. I too was silent … but a savage idea gave me no peace: to kill her … but what heartbreaking pity! To endure it – but I haven’t the strength! But grim winter howled all day and all night: ‘Kill, kill the betrayer! Destroy the wretched woman! Otherwise it will torment you all your life, neither by day nor during the long nights will you ever ﬁnd peace …’ Listening to this song of the winter storms that savage idea grew in strength –

Chorus ‘Ubey, ubey izmennitsu!’

‘Kill, kill the betrayer!’

Baritone Pripas ya vostryi nozh … Da vdrug vesna podkralasya …

I took up a sharp knife … And then suddenly came the spring …

14 | London Philharmonic Orchestra

Chorus Idyot-gudyot zelyonyi shum, etc.

They come rustling, the sounds of green, etc.

Kak molokom oblitiye, Stoyat sady vishnoviye, Tikhokhonko shumyat. Prigrety tyoplym solnyshkom, Shumyat poveselyeliye Sosnoviye lesa. A ryadom novoy zelenyu Lepechut pesnyu novuyu I lipa blednolistaya, I belaya beryozonka S zelyonoyu kosoy. Shumit trostinka malaya, Shumit vysokiy klyon … Shumyat oni po novomu, Po novomu, vesennemu …

As though bathed in milky-white stand the cherry orchards, gently rustling. Cherished in the warmth of the sunlight, there is the cheerful rustle of the pine forests. And alongside the new-born green spreads the new song of the pale lime trees, and the silver birches with their tresses of green. There is a rustle of slender reeds, a rustle of the tall maples … They rustle anew, anew, with the spring …

Idyot-gudyot zelyonyi shum, etc.

They come rustling, the sounds of green, etc.

Baritone Slabeyet duma lyutaya, Nozh valitsya iz ruk, I vsyo mnye pesnya slyshitsya Odnya – v lesu, v lugu:

The savage idea fades away, the knife falls from my hand, and the only song I hear is the single song of the woods and meadows:

Baritone, Chorus ‘Lyubi, pokuda lyubitsya, Terpi, pokuda terpitsya, Proshchay, poka proshchayetsya, I – Bog tebe sudya!’

‘Love, as long as you can love, endure, as long as you can endure, forgive, while you can forgive, and let God be your judge!’

Nikolay Nekrasov (1821–78)

Translation and transliteration © Andrew Huth

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

London Philharmonic Orchestra | 15

Programme notes continued

George Enescu 1881–1955

George Enescu was a musician of extraordinary gifts: a famous violinist and an accomplished pianist, an inspiring conductor, an impressive composer, a beloved teacher, and endowed with a phenomenal memory (he knew Wagner’s Ring cycle by heart). Born in Romania, the son of an estate manager, he began playing the violin at the age of four, and composing at five. He gained a place at the Vienna Conservatoire at seven, graduating five years later, and then went on to the Paris Conservatoire, where his composition teachers included Massenet and Fauré. He made his home in Paris, using it as a base for his playing career, as a solo violinist and a chamber musician on both violin and piano. But he made frequent return visits to Romania, where he was the founding conductor of a symphony orchestra and the national opera company, and used holiday periods to compose. His early music was inspired by Romanian folk music, but his later compositions were in a less nationalist vein, in the late-Romantic mainstream of Brahms, Wagner and Richard Strauss. His major works include an opera, Oedipe, which occupied him for many years before its premiere in 1936, and three symphonies. (Two further symphonies were among the many works which he planned in his head but left only in incomplete drafts; they have been the subject of posthumous completions.) Enescu began writing his Third Symphony in Romania in May 1916, shortly before the country entered the First World War on the side of the Allies. He completed it in August 1918, a few months before the end of the War, and conducted its first performance in Bucharest in May 1919 – then revised it thoroughly before a performance in Paris in February 1921. The work is scored for an orchestra of over 100 players, including

16 | London Philharmonic Orchestra

Symphony No. 3 in C London Philharmonic Choir Trinity Boys Choir 1 Moderato, un poco maestoso 2 Vivace, ma non troppo – Largo pesante – Tempo I 3 Lento, ma non troppo two sets of timpani, celeste, piano, two harps and organ, together with a wordless mixed choir. Its three large-scale movements, the second a scherzo and the last slow, have prompted interpretations linking them with the three episodes of Dante’s Divine Comedy, most convincingly in the order Inferno, Purgatory, Paradise, or with the realms of Earth, Hell and Heaven. But Enescu never uttered a word to justify these notions, and the most that can safely be said is that the Symphony seems to take an all-encompassing view of the human condition before ending with a vision of religious peace. The first movement sets out its thematic ideas, chiefly in the form of clusters of short inter-related motifs rather than extended melodies, in three groups: the first, of winding phrases over a sustained bass C and repeated timpani strokes, lyrical but clouded; the second, at an ‘agitated’ tempo, explosively angry; the third, of expressive melodic lines at a ‘tranquil’ tempo, romantically yearning. The central section, which mingles these themes and moods, works up to an intense climax, but ends with an interlude of calm. The reprise of the earlier themes, completely reworked, begins in this tranquil mood, and ends with an exultant climax and a glowing aftermath. The second movement (in C minor) is a pulsing scherzo in 6/8 time (two groups of triplets to the bar) frequently overlaid by 3/4 cross-rhythms. Later, 6/8 turns into 2/4, with a brusque idea in a firm march rhythm. Motifs in all these metres are caught up in a nightmarish whirl. A sudden pause heralds a much slower trio section of ferocious attacks and brutal heaviness, during which the brass section is instructed to stand. In the wake of this assault, the scherzo is resumed at subdued dynamic levels.

10008-CLASS LPO Concert Programme 73x69mm.pdf

The slow finale begins by establishing an atmosphere of hazy calm, before the muted violins embark on an extended melody, soon characteristically joined by counter-melodies in the woodwind. The wordless chorus enters, with a motif which is a smoothed-out C transformation of the march idea of the scherzo. A solo M viola leads off a section which begins hesitantly but Y gathers into an ecstatic climax. A religious atmosphere CM is established through the use of organ and bells – including a little bell ‘with a sonority similar to that of MY the bell sounded in Catholic churches at the Elevation CY of the Host’. Solo string lines drift upwards like incense, before the Symphony comes to a C major conclusion ofCMY the utmost serenity. K Programme notes © Anthony Burton

Jurowski conducts Rachmaninoff on the LPO Label 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

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.

London Philharmonic Orchestra | 17

14/

Next LPO concerts at Royal Festival Hall

Sunday 8 February 2015 | 12.00noon–1pm Family Concert: The Pied Piper of Hamelin (world premiere) Suitable for children aged 7 and over. Vladimir Jurowski conductor Michael Morpurgo author/narrator Natalie Walter narrator Colin Matthews composer Tickets £14–£18 adults, £7–£9 children Commission generously supported by the PRS for Music Foundation.

Wednesday 11 February 2015 | 7.30pm

Friday 13 February 2015 | 7.30pm JTI Friday Series Rachmaninoff: Inside Out Rachmaninoff Piano Concerto No. 4 (original version) Shostakovich Symphony No. 4 Vasily Petrenko conductor Alexander Ghindin piano Presented in co-operation with the Serge Rachmaninoff Foundation.

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

Rachmaninoff: Inside Out Stravinsky Symphony in Three Movements Rachmaninoff Piano Concerto No. 2 Rachmaninoff The Bells (Choral Symphony) Vasily Petrenko conductor Jorge Luis Prats piano Anna Samuil soprano Daniil Shtoda tenor Andrei Bondarenko baritone* London Philharmonic Choir * Please note a change to the artist as originally advertised. Presented in co-operation with the Serge Rachmaninoff Foundation.

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

Saturday 21 February 2015 | 7.30pm Beethoven Overture, Leonore No. 3 Beethoven Piano Concerto No. 3 Beethoven Symphony No. 7 Marin Alsop conductor David Fray piano Free pre-concert event | 6.00–6.45pm The Clore Ballroom at Royal Festival Hall Animate Orchestra is an ‘orchestra for the 21st century’ run by the LPO with Trinity Laban Conservatoire of Music and Dance and four boroughs from south-east London. Tonight’s concert features dance music created by the orchestra in response to Beethoven’s Symphony No. 7, the ‘apotheosis of the dance’.

Unless otherwise stated, tickets £9–£39 (premium seats £65) London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm | lpo.org.uk | Transaction fees: £1.75 online, £2.75 telephone. Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm | southbankcentre.co.uk Transaction fees: £1.75 online, £2.75 telephone. No transaction fee for bookings made in person

18 | London Philharmonic Orchestra

I N S I D E

O U T

A year-long exploration of the composer’s life and music, at Southbank Centre’s Royal Festival Hall throughout 2014/15 Friday 3 October 2014 | 7.30pm JTI Friday Series

Rachmaninoff The Isle of the Dead | Symphonic Dances | Piano Concerto No. 1 (original version)

Saturday 7 February 2015 | 7.30pm Rachmaninoff Three Russian Songs | Spring Enescu Symphony No. 3

Vladimir Jurowski conductor | Alexander Ghindin piano

Vladimir Jurowski conductor | Andrei Bondarenko baritone London Philharmonic Choir

Wednesday 29 October 2014 | 7.30pm

Wednesday 11 February 2015 | 7.30pm

Rachmaninoff Piano Concerto No. 3 | Symphony No. 2

Stravinsky Symphony in Three Movements Rachmaninoff Piano Concerto No. 2 | The Bells

Vassily Sinaisky conductor | Pavel Kolesnikov piano

Friday 7 November 2014 | 7.30pm JTI Friday Series

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

Vaughan Williams Fantasia on a Theme by Thomas Tallis Rachmaninoff Piano Concerto No. 4 (final version) Tchaikovsky Symphony No. 1 (Winter Daydreams)

Friday 13 February 2015 | 7.30pm

Osmo Vänskä conductor | Nikolai Lugansky piano

Rachmaninoff Piano Concerto No. 4 (original version) Shostakovich Symphony No. 4

Friday 28 November 2014 | 7.30pm

Vasily Petrenko conductor | Alexander Ghindin piano

JTI Friday Series

Wagner Overture, Tannhäuser Rachmaninoff Rhapsody on a Theme of Paganini Tchaikovsky Symphony No. 4

JTI Friday Series

Wednesday 25 March 2015 | 7.30pm Mozart Symphony No. 36 (Linz) | Dvořák Symphony No. 8 Rachmaninoff Piano Concerto No. 1 (final version)

David Zinman conductor | Behzod Abduraimov piano

Ilyich Rivas conductor | Dmitry Mayboroda piano

Wednesday 3 December 2014 | 7.30pm

Wednesday 29 April 2015 | 7.30pm

Szymanowski Concert Overture Scriabin Piano Concerto | Rachmaninoff Symphony No. 1

Rachmaninoff Four Pieces | Ten Songs | Symphony No. 3 Vladimir Jurowski conductor | Vsevolod Grivnov tenor

Vladimir Jurowski conductor | Igor Levit piano

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

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

London Philharmonic Orchestra | 19

New on the LPO Label: Vaughan Williams Symphonies Nos. 4 & 8 New February release - CD on sale now Ralph Vaughan Williams: Symphony No. 4 Ryan Wigglesworth conductor Symphony No. 8 Vladimir Jurowski conductor London Philharmonic Orchestra ‘First-rate playing from the London Philharmonic Orchestra with a fine, warm bloom to the sound.’ Financial Times (Symphony No. 4)

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.

LPO label CD subscriptions Did you know you can have the LPO’s newest releases delivered straight to your doorstop each month? Receive all the new releases on the LPO Label, mailed before the CDs are available in the shops! A year-long subscription costs £79.99 (10 CDs) and a six-month subscription costs £44.99 (5 CDs).

Available from lpo.org.uk/gifts, and the LPO Ticket Office (020 7840 4242).

20 | London Philharmonic Orchestra

2015/16 season at the Royal Festival Hall Highlights 2015

2016

Wednesday 23 September Mahler Symphony No 7 Vladimir Jurowski conductor

Shakespeare400 The LPO joins many of London’s other leading cultural institutions in 2016 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 orchestral Mexican 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 | 21

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Neil Westreich William and Alex de Winton Simon Robey Victoria Robey OBE Julian & Gill Simmonds* Anonymous Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Mrs Philip Kan* Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett John & Manon Antoniazzi 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 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 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 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 John Montgomery Dr Karen Morton Mr & Mrs Andrew Neill Tom & Phillis Sharpe Martin and Cheryl Southgate Professor John Studd Mr Peter Tausig Mrs Kazue Turner Simon Turner Howard & Sheelagh Watson Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

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

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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 Serge Rachmaninoff Foundation Romanian Cultural Institute Schroder Charity Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust The Steel Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous

Sound Futures Donors We are grateful to the following donors for their generous contributions to Sound Futures, which will establish our first ever endowment. Donations from those below have already been matched pound for pound by Arts Council England through a Catalyst Endowment grant. By May 2015 we aim to have raised £1 million which, when matched, will create a £2 million fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre. We thank those who are helping us to realise the vision. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust Welser-Möst Circle John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Simon Robey Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas John & Manon Antoniazzi Georgy Djaparidze Mrs Mina Goodman and Miss Suzanne Goodman Robert Markwick & Kasia Robinski The Rothschild Foundation Haitink Patrons Mark & Elizabeth Adams Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Bruno de Kegel Mr Gavin Graham Moya Greene Tony and Susie Hayes Catherine Høgel & Ben Mardle Mrs Philip Kan Rose and Dudley Leigh

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

London Philharmonic Orchestra | 23

Administration

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

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Alison Atkinson Digital Projects Director

Alexandra Clarke Education and Community Project Manager

Matthew Freeman Recordings Consultant

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

Lucy Duffy Education and Community Project Manager

Public Relations Albion Media (Tel: 020 3077 4930)

Richard Mallett Education and Community Producer