London Philharmonic Orchestra 10 February 2016 concert programme by London Philharmonic Orchestra

A festival of concerts, talks and exploratory events celebrating the musical legacy of the worldâ&#x20AC;&#x2122;s greatest playwright

Concert programme 2015/16 London Season lpo.org.uk

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader pieter schoeman supported by Neil Westreich Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Wednesday 10 February 2016 | 7.30pm

Dvořák Piano Concerto (36’) Interval Sibelius The Tempest: excerpts from the Incidental Music (60’)

Osmo Vänskä conductor Stephen Hough piano Lilli Paasikivi mezzo soprano Simon Callow narrator

Free pre-concert events at Royal Festival Hall 5.00–5.30pm South London GCSE student composers present brand new pieces inspired by Sibelius’s The Tempest.

6.00–6.45pm Gordon McMullan of Shakespeare400 explores the 'late styles' of writers, artists and composers including Sibelius and Shakespeare.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome Orchestra news 3 Shakespeare400 4 About the Orchestra 6 On stage tonight 7 Osmo Vänskä 8 Stephen Hough Lilli Paasikivi 9 Simon Callow 10 Programme notes 14 Song texts 15 Next concerts 18 Sound Futures donors 19 Supporters 20 LPO administration The timings shown are not precise and are given only as a guide.

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. 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. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss 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.

LPO Education & Community news Our LPO musicians perform over 30 concerts a year here at Royal Festival Hall, but did you know they are just as busy off the concert platform? The Orchestra reaches 33,000 young people each year through its Education & Community Programme and our players are keen to share their skills, expertise and passion for music-making within schools and communities. Today has been a jam-packed day with three projects in progress, inspired by the Shakespeare400 season and featuring repertoire from tonight’s performance . At 5pm today, Year 10 music students from Trinity School (Lewisham) and St Ursula’s Convent School (Royal Greenwich) premiered two compositions on the Royal Festival Hall stage, with players from the London Philharmonic Orchestra and music leaders Rachel Leach and John Webb. Over the last five weeks the students and LPO team have worked together to compose their own group compositions based on Sibelius’s The Tempest. This New Horizons composition project forms part of the young people’s GCSE studies and was the first time that groups experienced working as both composers and performers on the Royal Festival Hall stage. We are grateful for the support of The Lucille Graham Trust, The Michael Tippett Foundation and the John Thaw Foundation, and the South Riverside Music Partnership, who have made this project possible. We would also like to welcome two groups of participants involved in the work of the LPO. Joining us tonight from across south-east London are young people and their families from the award-winning Animate Orchestra – a project run as part of the South Riverside Music Partnership. This event precedes our half-term skills development course later this month, which will form creative ensembles of 11–15 years olds. And finally, we’d like to welcome the primary teachers involved in our summer term project, Creative Classrooms. This project aims to support classroom music-making at Key Stage 2, offering an intensive development opportunity for non-specialist music teachers in our four home boroughs (Lambeth, Lewisham, Royal Greenwich and Southwark). Each participating class will attend the LPO’s BrightSparks schools' concert on 23 May 2016, which forms the basis for the project’s musical content. lpo.org.uk/education

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Concerts at Royal Festival Hall

In collaboration with some of London’s leading cultural, creative and educational institutions, the London Philharmonic Orchestra joins Shakespeare400 with a celebration of the Bard’s love of music, and his influence on it. Join the LPO at Southbank Centre’s Royal Festival Hall this year for a celebration of creativity and collaboration, and dive into a musical world born of the words of the legendary William Shakespeare.

Wednesday 3 February 2016 | 7.30pm Dvořák | Othello Wednesday 10 February 2016 | 7.30pm Sibelius | The Tempest

Pre-concert talks

For four and a half centuries, the most admired playwright and poet in history has inspired music both intimate and grand, devastating and uplifting. Shakespeare’s body of plays and poems has exercised more influence over composers and musicians than anything else in literature bar the Bible, and continues to inspire across the generations of today.

Special performances

Welcome to our Shakespeare400 series, part of a UKwide festival of concerts, talks and exploratory events celebrating the musical legacy of the world’s greatest playwright, William Shakespeare.

Friday 15 April 2016 | 7.30pm | JTI Friday Series Prokofiev | Romeo and Juliet Saturday 23 April 2016 | 7.30pm Anniversary Gala Concert featuring very special guests Sunday 5 June 2016 | 12 noon FUNharmonics Family Concert | Bottom’s Dream Wednesday 3 February 2016 | 6.00pm Adapting Othello Wednesday 10 February 2016 | 6.00pm Late works of Shakespeare and others Friday 12 February 2016 | 6.00pm Shakespeare’s Windsor Friday 26 February 2016 | 6.00pm The Macbeths Friday 15 April 2016 | 6.00pm Think you know Romeo & Juliet? Wednesday 27 January 2016 | 6.00pm Hamlet in Russia: Shostakovich’s Hamlet Wednesday 10 February 2016 | 5.00pm New Horizons: Inspired by Shakespeare Saturday 5 March 2016 | 6.00pm Foyle Future Firsts: Ophelia Dances Saturday 9 April 2016 | 6.00pm LPO Soundworks & Quicksilver: Inspired by Shakespeare Saturday 30 April 2016 | post-concert RCM Big Band: Such Sweet Thunder

London Philharmonic Orchestra

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. 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. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives over 30 concerts each season. Throughout 2014/15 the Orchestra gave a series of concerts entitled Rachmaninoff: Inside Out, a festival exploring the composer’s major orchestral masterpieces. 2015/16 is a strong season for singers, with performances by Toby Spence and Anne Sofie von Otter amongst others; Sibelius enjoys 150th anniversary celebrations; distinguished visiting

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conductors include Stanisław Skrowaczewski, JukkaPekka Saraste and Vasily Petrenko, with Robin Ticciati returning after his debut in 2015; and in 2016 the LPO joins many of London’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400 years since his death. The Orchestra continues its commitment to new music with premieres of commissions including Magnus Lindberg’s Second Violin Concerto and Alexander Raskatov’s Green Mass.

Exceptional playing from the London Philharmonic Orchestra The Times, July 2015

Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra 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. Touring remains a large part of the Orchestra’s life: highlights of the 2015/16 season

‘It was one of those unforgettable evenings where everything and everyone performed beautifully [with] an extraordinary performance by the London Philharmonic ... The ovation should have been standing.’ Andrew Collins, The News, March 2015

include visits to Mexico City as part of the UK Mexico Year of Culture, Spain, Germany, the Canary Islands, Belgium, a return to the Concertgebouw, Amsterdam and the Orchestra’s premiere at La Scala, Milan. 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 90 releases available on CD and to download. Recent additions include Rachmaninoff's Symphony No. 3 and Ten Songs under Vladimir Jurowski, and archive recordings of Mahler Symphonies and Beethoven’s Symphony No. 5 conducted by Klaus Tennstedt.

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. Find out more and get involved! lpo.org.uk

The most adventurous of London’s orchestras

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Financial Times, March 2015

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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.

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On stage tonight

First Violins Yang Xu Guest Leader Vesselin Gellev Sub-Leader Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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 Nilufar Alimaksumova Second Violins Andrew Storey Principal Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Fiona Higham Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Helena Nicholls Sioni Williams Elizabeth Baldey Alison Strange John Dickinson

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Naomi Holt Alistair Scahill Cellos Steffan Morriss Guest Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Chair supported by The Viney Family

Susanna Riddell Double Basses Kevin Rundell* Principal George Peniston Laurence Lovelle Thomas Walley Lowri Morgan Charlotte Kerbegian Flutes Sue Thomas* Principal Chair supported by Victoria Robey OBE

Clare Childs Stewart McIlwham*

Piccolos Stewart McIlwham* Principal Chair supported by Friends of the Orchestra

Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Clare Childs

Nicholas Betts Co-Principal

Oboes Ian Hardwick* Principal Alice Munday

Trombones Mark Templeton* Principal

Clarinets Robert Hill* Principal Thomas Watmough

David Whitehouse

Bass Clarinet Paul Richards Principal E flat Clarinet Thomas Watmough Principal Bassoons Gareth Newman Principal Simon Estell Horns David Pyatt* Principal Chair supported by Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Stephen Nicholls Gareth Mollison

Chair supported by William & Alex de Winton

Bass Trombone Paul Lambert Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal Chair supported by Jon Claydon

Keith Millar James Bower Ignacio Molins Harp Rachel Masters* 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: An anonymous donor • Bianca and Stuart Roden • Neil Westreich

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Osmo Vänskä conductor

Vänskä is one of the greatest living Sibelius conductors.

Paul Gent, The Telegraph, April 2013

Music Director of the Minnesota Orchestra for over a decade, Osmo Vänskä is recognised for his compelling interpretations of repertoire from all ages, passionately conveying the authentic message of the composer’s score. Recent and forthcoming performances include Vänskä’s returns to the Chicago and San Francisco symphony orchestras, The Cleveland Orchestra, the Israel Philharmonic Orchestra and the Orchestre de la Suisse Romande. He regularly conducts the London Philharmonic and London Symphony orchestras, the Netherlands Radio Philharmonic, the Deutsches Symphonie-Orchester Berlin, the Vienna Symphony and the Finnish Radio Symphony Orchestra, and has developed strong relationships with the Helsinki Philharmonic, the New World Symphony and the Mostly Mozart Festival, New York. Last season he led the Minnesota Orchestra in a historic first visit by a major US orchestra to Cuba since the normalisation of relations between the two governments. He also became Principal Guest Conductor of the Iceland Symphony Orchestra, having previously held the position of Music Director. As one of the most renowned interpreters of Sibelius’s music, he contributed to the composer’s 150th anniversary celebrations at the BBC Proms and with the São Paulo, Lahti and Yomiuri Nippon symphony orchestras. Vänskä is a distinguished recording artist, primarily for the BIS label. In 2014 his album with the Minnesota Orchestra of Sibelius’s Symphonies Nos. 1 and 4 won a Grammy award for Best Orchestral Performance, following the nomination of Symphonies Nos. 2 and 5 the year before. In 2008 the London Philharmonic

Orchestra released on its own label Rachmaninoff’s Symphony No. 3 and Bax’s Tintagel (LPO-0036, below). Formerly Music Director of the Lahti Symphony Orchestra and Chief Conductor of the BBC Scottish Symphony Orchestra, Vänskä studied conducting at Finland’s Sibelius Academy and was awarded first prize in the 1982 Besançon Competition. He began his career as a clarinettist, occupying the co-principal chair of the Helsinki Philharmonic Orchestra, and in recent years has enjoyed a return to the clarinet, including on a 2012 recording of Kalevi Aho’s chamber works. Vänskä is the recipient of a Royal Philharmonic Society Award, the Finlandia Foundation’s Arts and Letters award, and the 2010 Ditson Award from Columbia University. He holds honorary doctorates from the universities of Glasgow and Minnesota and was named Musical America’s 2005 Conductor of the Year. In 2013 he received the Annual Award from the German Record Critics' Award Association for his involvement in BIS’s recordings of the complete works by Sibelius.

Vänskä conducts on the LPO Label Rachmaninoff Symphony No. 3 Bax Tintagel Osmo Vänskä conductor London Philharmonic Orchestra LPO-0036 | £9.99 Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), the Royal Festival Hall shop and all good CD outlets.

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Lilli Paasikivi

piano

mezzo soprano

One of the most distinctive artists of his generation, Stephen Hough combines a distinguished career as a pianist with those of composer and writer. Named by The Economist as one of Twenty Living Polymaths, Hough was the first classical performer to be awarded a MacArthur Fellowship and was made a CBE in the New Year Honours 2014.

Lilli Paasikivi is one of the world’s leading interpreters of the Mahler song-cycles and symphonies. Her appearances have included Das Lied von der Erde and Des Knaben Wunderhorn with the Los Angeles Philharmonic under Esa-Pekka Salonen; Symphony No. 2 with the Royal Swedish Philharmonic Orchestra under Sakari Oramo; Symphony No. 3 with the London Symphony Orchestra under Paavo Järvi; Symphony No. 8 with the Berlin Philharmonic under Sir Simon Rattle; Kindertotenlieder with the New World Symphony under Michael Tilson Thomas; and Das Lied von der Erde with the London Philharmonic Orchestra under Sir Mark Elder in January 2013. She made her debut with the New York Philharmonic under Lorin Maazel in the world premiere of Rodion Shchedrin's The Enchanted Wanderer, returning for Mahler’s Symphony No. 2 and Verdi’s Requiem, both under Alan Gilbert.

Highlights of Stephen Hough’s 2015/16 season include performances with the Cleveland, Finnish Radio Symphony and New Zealand Symphony orchestras, the Hallé, the Los Angeles Philharmonic and the Orchestre Symphonique de Montréal. In recital he will appear in London, New York, Chicago, Tokyo and Beijing, and on tour in Australia with Musica Viva. Hough’s extensive discography has garnered international awards including the Diapason d’Or de l’Annee, several Grammy nominations, and eight Gramophone Awards including Record of the Year and the Gold Disc. His iPad app The Liszt Sonata was released by Touch Press in 2013. As a composer Hough has been commissioned by Wigmore Hall, Musée du Louvre, London’s National Gallery, Westminster Abbey, Westminster Cathedral and the Berlin Philharmonic Wind Quintet. He premiered his latest work, Piano Sonata III (Trinitas), at the Barbican in London in October 2015. As a writer Stephen Hough has been published by The Times, The Guardian, The Independent and The Telegraph – where he is author of one of the most popular cultural blogs worldwide. A Governor of the Royal Ballet companies, Hough is a Visiting Professor at the Royal Academy of Music, the International Chair of Piano Studies at the Royal Northern College of Music and is on the faculty of The Juilliard School in New York.

Stephen Hough

Lilli Paasikivi’s current season opened with a performance of Schoenberg’s Gurrelieder conducted by Esa-Pekka Salonen at the Baltic Sea Festival in Stockholm. Other highlights include Mahler's Symphony No. 2 in her debut with the NHK Symphony Orchestra Tokyo under Paavo Järvi, and a new commission by Finnish composer Olli Kortekangas for the Minnesota Orchestra, again under the baton of Osmo Vänskä. Paasikivi's celebrated work on disc includes Elgar's The Dream of Gerontius under Vladimir Ashkenazy; Beethoven's Symphony No. 9 with the Gewandhausorchester Leipzig and Riccardo Chailly; Mahler’s Symphony No. 3 with the Philharmonia Orchestra under Benjamin Zander; Mahler’s Symphony No. 8 with the London Symphony Orchestra under Valery Gergiev; Sibelius’s Kullervo under Vänskä; and Alma Mahler’s Complete Songs arranged and conducted by Jorma Panula. Lilli Paasikivi holds the post of Artistic Director of the Finnish National Opera.

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Simon Callow narrator

Saturday 23 April 2016 | 7.30pm Royal Festival Hall Simon Callow is an actor, author and director. He studied at Queen’s University Belfast, and then trained as an actor at the Drama Centre in London. He joined the National Theatre in 1979, where he created the role of Mozart in Peter Shaffer’s Amadeus.

His many one-man shows include The Mystery of Charles Dickens, Being Shakespeare, A Christmas Carol, Inside Wagner’s Head, Juvenalia and, most recently, The Man Jesus. He has appeared in many films including A Room with a View, Four Weddings and a Funeral, Shakespeare in Love and Phantom of the Opera, and is currently playing The Duke of Sandringham in the television series Outlander. He directed Shirley Valentine in the West End and on Broadway; Single Spies at the National Theatre; and Carmen Jones at the Old Vic, as well as the film of The Ballad of the Sad Café. Simon has written biographies of Oscar Wilde, Charles Laughton and Charles Dickens, and three autobiographical books: Being An Actor, Love Is Where It Falls and My Life in Pieces. The third volume of his massive Orson Welles biography, One Man Band, has just been published; Inside Wagner’s Head, a short biography of Wagner, will appear this autumn. Music is Simon's great passion, and he has made many appearances with the London Philharmonic Orchestra, the London Symphony Orchestra and the London Mozart Players.

Shakespeare400: Anniversary Gala Concert A special gala event celebrating the greatest playwright that ever lived Scenes from: Verdi Otello Tchaikovsky Hamlet Vaughan Williams Serenade to Music Britten A Midsummer Night’s Dream Mendelssohn A Midsummer Night’s Dream Berlioz Roméo et Juliette Prokofiev Romeo and Juliet Thomas Adès The Tempest Walton Henry V Verdi Falstaff Vladimir Jurowski conductor Simon Callow director London Philharmonic Orchestra The Glyndebourne Chorus Soloists including: Kate Royal soprano Allison Bell soprano Dame Felicity Palmer mezzo soprano Rachael Lloyd mezzo soprano Iestyn Davies countertenor Toby Spence tenor Ronald Samm tenor Alasdair Elliott tenor Andrew Shore baritone Simon Keenlyside baritone Lukas Jakobski bass Tickets £12–£48 (premium seats £75) 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

Concert generously supported by Victoria Robey OBE and members of the Shakespeare400 Syndicate

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Programme notes

Speedread Among the countless composers who have felt themselves drawn to William Shakespeare’s work was Jean Sibelius, a Finn known more for his rigorous treatment of abstract symphonic material than for his reflection of fictionalised human characters. Sibelius toyed with Shakespearean subject matter for a quarter of a century, sometimes producing music as a result, sometimes not. But when he eventually delivered an hour of music for a production of The Tempest – a play itself full of musical cues and shapes – the timing was just right. This was one of the last orchestral works Sibelius wrote; he was edging ever closer to a strange, ambiguous expressive hinterland that might well have characterised his destroyed Eighth Symphony

Antonín Dvořák 1841–1904

but proved remarkably evocative of Shakespeare’s curious island realm full of magic and half-reality. Sibelius’s music for The Tempest isn’t the easiest or most consistent that flowed from his pen, and hasn’t been immune from criticism. Likewise the work we hear first tonight: Antonín Dvořák’s mammoth Piano Concerto. Some claimed it had an awkward gait, a little like Sibelius’s depiction of Shakespeare’s ‘mooncalf’ Caliban; others that it wasn’t written with the ten fingers of a pianist in mind. True enough: the Concerto is certainly ferociously difficult to play. But who said great music was always polite, smooth or easy?

Piano Concerto, Op. 33 Stephen Hough piano 1 Allegro agitato 2 Andante sostenuto 3 Allegro con fuoco

Antonín Dvořák became Europe’s nationalist composer par excellence – a sublime melodist and a fine orchestrator, able to combine the ‘classical’ Viennese style of well argued, seamlessly knit textures with his own romantic sensibility and polite use of indigenous folk material. When Dvořák had proved his worth with symphonies that seemingly fitted the square peg of folk material into the round hole of disciplined thought, America recruited the composer to be its musical lecturer-in-chief.

pianistic’. Musicologists weighed in, drawing attention to ‘clumsy’ and ‘unidiomatic’ passages from the pen of a composer who was best when writing for strings (accusations Dvořák largely accepted).

The Dvořák love-in ends, though, when discussion of his Piano Concerto begins. This is one piece that has caused the composer considerable posthumous problems. Rumblings began in Dvořák’s own lifetime, when pianists claimed the concerto’s solo part was ‘un-

It’s not just the piano part of the Concerto that has been criticised. Some have taken issue with the actual musical argument, claiming it relies too heavily on ideas influenced by Beethoven and that its themes are simply repeated rather than ‘developed’ in the symphonic

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In the 20th century a revised edition of the piece by pianist Wilém Kurz became a popular choice for soloists. But it was the pianist Sviatoslav Richter who led the way in returning to the composer’s original score. Tonight’s soloist does the same.

sense. That seems a rather academic point. Dvořák had spawned five symphonies by the time he came to write the Concerto in 1876 and the fluency of his orchestral writing and the seamlessness with which he journeys through the piece’s varying emotional hues are obvious. His response to themes might not be anatomical, but the sentiments are certainly natural and musical. The Concerto is of mammoth Brahmsian proportions and unfolds over three movements. The opening Allegro agitato is muscular and full of energy, with a tussle ensuing between two themes of contrasting lyricism and urgency, the latter spiked with dashes of folk-like impudence. To end, the pianist plays a vigorous cadenza based on the movement’s first melodic idea.

The central movement has been likened to a woodland pastoral. The mood is one of radiant peace, in which the composer introduces two themes: one from a meditative horn, the other traced by the pianist as if in mid song. The delicate accompaniment is characterised by glowing woodwinds. The finale is certainly the most Dvořák-like of the three, the mood being assuredly that of the composer’s famous Slavonic Dances. Dvořák uses a Czech folk song as his musical basis with a dotted-rhythm dance over which you can easily lay the words ‘I won’t go home, I won’t go home’ (in Czech, the words of the song Dvořák borrowed). As in the first movement, two other subsidiary themes emerge which are then called up to bring the movement to a close. As for the work’s quality, affability and standard of craftsmanship, over to you – Dvořák would have wanted his audience to decide.

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

Sibelius: The Tempest on the LPO Label CD: Beecham – The Founding Years LPO conducted by Sir Thomas Beecham Sibelius The Tempest: Incidental Music (excerpts) (world premiere recording) Mozart Mass in C minor, K427 (excerpts) Handel Israel in Egypt (excerpts) Mozart Symphony No. 35 in D, K385 (Haffner) Chabrier Rhapsody, España

LPO-0006 | £9.99

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.

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Programme notes & song texts

Jean Sibelius

The Tempest, Op. 109: excerpts from the Incidental Music Simon Callow narrator Lilli Paasikivi mezzo soprano

1865–1957

The song texts are overleaf.

Overture: The ship sinks beneath the waves Ariel flies in Ariel’s First Song: 'Come unto these yellow sands' Ariel’s Second Song: ‘Full fathom five thy father lies’ Interlude The Oak Tree: Ariel plays the flute Ariel’s Third Song: ‘While you here do snoring lie’ Interlude: Caliban Interlude: Miranda Humoresque Dance of the Shapes: Antonio Melodrama: Ariel as harpy The Shapes Dance Out Intermezzo: Alonso mourns Ariel flies in Ariel’s Fourth Song: ‘Before you can say “Come” and "go"’ The Rainbow Melodrama: Iris Menuet: Dance of the Naiads Polka: Dance of the Harvesters The Dogs Ariel brings the foes to Prospero Ariel’s Fifth Song: ‘Where the bee sucks, there suck I’ Cortège Epilogue

As early as 1901, Sibelius’s mentor Axel Carpelan suggested the composer investigate setting Shakespeare’s The Tempest, or parts of it, to music. In 1909 Sibelius wrote two songs to verses from Twelfth Night and mulled over a bigger piece based on Macbeth. He was clearly drawn to Shakespeare, and it’s likely that the seed of Carpelan’s idea was still somewhere in

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Sibelius’s mind when the Royal Danish Theatre came calling in 1925, asking the composer for incidental music to a new production of The Tempest scheduled to open in Copenhagen the following year. The timing is fascinating. In 1925 Sibelius was edging ever closer to the creative block that would silence his final decades. But he was also beginning tentatively to explore strange new textures and harmonies in his music, the faintest clues of which were revealed in 2011 when we heard, for the first time, possible sketches for Sibelius’s Eighth Symphony. Did the curious, intangible island realm of The Tempest play a role in leading Sibelius down the path that produced those dreamlike, tonally ambiguous fragments? Some of the 36 musical numbers Sibelius wrote – around 60 minutes of music – would suggest so. Others absolutely wouldn’t. But what those numbers do represent is the last and greatest work Sibelius wrote for the theatre, as well as some of the most fascinating and effective examples of his ability to depict character and psychology in music, whether with complex means or simple ones. In the Royal Danish Orchestra, Sibelius had a larger than usual ensemble at his disposal – far bigger than anything in Helsinki – while the Royal Theatre offered him a chorus and soloists from its opera department too. After the first performance on 16 March 1926 – ‘Shakespeare and Sibelius, these two geniuses, have found one another’, read one review – it was agreed that the production should transfer to Helsinki the following year. Originally, Sibelius’s Overture substituted entirely for any stage depiction of the shipwreck that opens the

play. The piece has been described as ‘one of the most effective and terrifying storms in all music’, but that’s hard to countenance after Britten’s Sea Interludes and nearly a century of Hollywood swashbuckling. What this prelude does do, however, is underline the mystery and intangibility of The Tempest’s entire realm: it is founded entirely on texture, without any thematic material whatsoever. What follows tonight, rather than one or both of the usual suites compiled by Sibelius, is conductor Osmo Vänskä’s own selection of narrated excerpts from the full score. Immediately after the Overture we are in the realm of the sexless spirit Ariel, given by Sibelius to a mezzo-soprano voice whose songs form the backbone of the narrative journey plotted by Vänskä’s selection. The composer writes for Ariel with both simplicity and imagination, linking the spirit to the elements and underlining the misty ambiguity that surrounds its antics. The pastoral D major of ‘Come unto these yellow sands’ is followed by the more brooding ‘Full fathom five’ scored with trombones, and then by the Interlude associated with Prospero (Sibelius apparently saw something of himself in this wise, shamanistic figure coming to terms with old age). In Ariel’s delightful song ‘While you here do snoring lie’, the spirit sings to wake Alonso and Gonzalo from impending danger. Surrounding that last song is another Interlude and one of the score’s most remarkable creations, ‘The Oak Tree’, which describes Ariel’s 11-year imprisonment in a tree at the behest of Sycorax the witch. In its haunting footing – an anguished flute, an eerie ostinato – are some of the surest signs that the odd, intangible island world of Shakespeare’s play was drawing new ideas from Sibelius.

Alonso realises his misdeeds – that the storm conjured by Prospero was punishment for his lack of heart – he is left to reflect on his son’s death at the hand of the storm in another heartfelt Intermezzo. In Act IV, Ariel enters and conjures a Harvest Festival before singing the wistful ‘Before you can say “Come” and “go”’. A rainbow then appears to illuminate the event and pay homage to Iris; this in turn leads to the gentle waltz of ‘Iris’s Melodrama’. Bustling activity characterises the ‘Dance of the Naiads’ and the ensuing ‘Dance of the Harvesters’ is a graceful pastoral reflecting Ariel’s celebration. In the wake of the festivities, Caliban, Stephano and Trinculo are set on killing Prospero but their plans are thwarted when the wizard conjures up spirits in the shape of dogs to scatter them. And so to the play’s Fifth and final act, in which Ariel fetches the villains to bring them before Prospero, the task accompanied by music that appears bent on madness before graduating onto solemnity. Prospero liberates Ariel from his service, for which Sibelius captures all the spirit’s wide-eyed delight at his newfound freedom in his strikingly original setting of the famous text ‘Where the bee sucks, there suck I’. The final Cortège is in the shape of a Polonaise, with its roots in a work Sibelius originally wrote for the retirement of the Finnish National Theatre’s director Kaarlo Bergbom in 1905. Sibelius never set out to create a self-contained, homogenous piece of music in The Tempest, as it always depended on some element of extraneous narrative, as tonight. What’s evident from so much of that music, though, is that the great symphonist certainly had a way with musical character and psychology too. Programme notes © Andrew Mellor

Three orchestral interludes take us into Act III, the first a portrait of Caliban and the next a shift from grinding dissonance to gently swung lullaby featuring two clarinets and a harp over muted strings (it originally reflected Miranda’s sleep in the play’s second scene). The Spanish colour of ‘Dance of the Shapes’ entwines a portrait of the usurper Alonso with the ‘several strange Shapes’, conjured up by Prospero. They lay a banquet before Ariel interrupts them in the guise of a foodsnatching Harpy, a female monster with the body of a bird, prompting the Shapes to dance out again. When London Philharmonic Orchestra | 13

The Tempest: Song texts

Ariel’s First Song Hietikolle käymme näin käsikkäin, ystäväin. Niiatkaa ja suukotelkaa, laineet lepoon tuuditelkaa, sipsutellen pyörikaä, henget, kuoroon yhtykää. Kuulkaa, noin koira haukkuu vou – vou ... Vait, kuunnelkaa, noin kiekuvi kukko kultasuu kukkelikuu – kukkelikuu.

Come unto these yellow sands, And then take hands: Curtsied when you have, and kiss’d The wild waves’ whist: Foot it featly here and there, And, sweet sprites, the burden bear. Hark, hark! Bow-wow! The watch-dogs bark: Bow-wow! Hark, hark! I hear The strain of strutting chanticleer Cry – Cock-a-diddle-doo.

Ariel’s Second Song Sun isääs’ peittävät synkeät veet, nyt koralleiksi luunsa on ja silmät helmiksi muuttuneet, on muuten ehjä ja koskematon. Hän meren helmassa saanut sen on muodon kallisarvoisen. Ja vedenneidot soittavat kellojaan, soi kaiku yli maan.

Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade, But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell: Ding-dong. Hark! now I hear them – Ding-dong, bell.

Ariel’s Third Song Täällä senkun kuorsataan, vaikka konnat koukkujaan jo virittää. Henkeänne uhataan, ylös siitä sukkelaan: Nouskaa jo, herätkää, nouskaa jo, herätkää, herätkää!

While you here do snoring lie, Open-ey’d conspiracy His time doth take. If of life you keep a care, Shake off slumber, and beware: Awake, awake! Awake, awake! Awake!

Ariel’s Fourth Song Ennen kuin ehdit huokaamaan, ‘tänne hoi!’ ees huutamaan, niin jo luokses’ innoissaan sipsuttaa he varpaillaan. Rakastathan mua, eikö vaan?

Before you can say, ‘Come’ and ‘go’, And breathe twice and cry, ‘So, so!’, Each one, tripping on his toe, Will be here with mop and mow. Do you love me, master? No?

Ariel’s Fifth Song Mä mettä janooni juoda saan ja kissankelloon käyn loikomaan ja öisin huuhkajan hootoa kuuntelen tai seljässä lepakon liitelen Ja riemujen suvisten jälkehen on varjossa oksien tuoksuavain niin hauskaa ja hilpeää elellä vain.

Where the bee sucks, there suck I; In a cowslip’s bell I lie; There I couch when owls do cry. On the bat’s back I do fly After summer merrily: Merrily, merrily shall I live now Under the blossom that hangs on the bough. Texts from William Shakespeare’s The Tempest

14 | London Philharmonic Orchestra

Next concerts at Royal Festival Hall Friday 12 February | 7.30pm

Friday 26 February | 7.30pm

JTI friday series

Nicolai Overture, The Merry Wives of Windsor Korngold Violin Concerto Elgar Symphony No. 1

Mendelssohn Overture, A Midsummer Night's Dream* Khachaturian Violin Concerto R Strauss Macbeth Stravinsky The Firebird Suite (1919 version)*

Osmo Vänskä conductor Hyeyoon Park violin

Andrés Orozco-Estrada conductor Kristóf Baráti violin

Wednesday 24 February | 7.30pm Tchaikovsky Violin Concerto Tchaikovsky Manfred Symphony Vasily Petrenko conductor Augustin Hadelich violin

* Please note a change to the programme from originally advertised

Saturday 5 March | 7.30pm Tchaikovsky Symphony No. 3 Zemlinsky Six Maeterlinck Songs Szymanowski Stabat Mater* Vladimir Jurowski conductor Elżbieta Szmytka soprano Anne Sofie von Otter mezzo soprano Andrzej Dobber baritone London Philharmonic Choir * Organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music Programme, to commemorate the 1050th anniversary of the Baptism of Poland

Wednesday 9 March | 7.30pm Rachmaninoff Piano Concerto No. 3 Zemlinsky Die Seejungfrau (The Mermaid) Vladimir Jurowski conductor Marc-André Hamelin piano 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

INT ERNAT I ONAL

PIAN O SERIES 2015/16

Paul Lewis © Mark McNulty

Tue 23 FeB 2016

Tue 19 Apr 2016

Wed 11 May 2016

Maurizio Pollini Schumann and Chopin

Yundi The piano superstar returns

Paul Lewis Brahms, Schubert and Liszt

Tue 26 Apr 2016

Wed 25 May 2016

Mitsuko Uchida Berg, Schubert, Mozart and Schumann

Richard Goode Schubert’s last three sonatas

Thu 28 Apr 2016

Wed 8 Jun 2016

Katia and Marielle Labèque Mozart, Schubert and Stravinsky

Imogen Cooper Schumann, Wagner and Liszt

Fri 11 Mar 2016 Seong-Jin Cho The winner of the 2015 Chopin Competition gives his first UK solo recital Wed 6 Apr 2016 Ingrid Fliter An all-Chopin programme including the 24 Preludes

Tickets £65 – £10 (transaction fees may apply) SERIES SAVINGS: Book 3 – 4 concerts and save 10% Book 5 or more concerts and save 20% Concerts take place in Royal Festival Hall and at St John’s Smith Square. Full details online.

The home of classical music

southbankcentre.co.uk/piano 0844 847 9929

Rachmaninoff: New CD release on the LPO Label Rachmaninoff: Symphony No. 3 10 Songs (arr. Jurowski) Vladimir Jurowski conductor Vsevolod Grivnov tenor £9.99 LPO-0088

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

16 | London Philharmonic Orchestra

Student & Under-26 at Royal Festival Hall

Scheme

‘@LPOrchestra

bring it on!’ ‘Listening to the @LPOrchestra is one of the best things to do in life’ ‘@LPOrchestra I don’t know much about classical music but I do know when I am listening to something

amazing’

Students receive best available seats for just £4 at selected concerts throughout the year.

www.lpo.org.uk/noise

The London Philharmonic Orchestra's NOISE programme is supported by the Orchestra's Principal Beer Sponsor, Heineken.

London Philharmonic Orchestra | 17

Sound Futures Donors We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. 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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno de Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin Robert Markwick & Kasia Robinski The Rind Foundation The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

18 | London Philharmonic Orchestra

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Lady Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

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 Mrs Philip Kan* Simon Robey Victoria Robey OBE Bianca & Stuart Roden Laurence Watt Anonymous Jon Claydon Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller The Jeniffer and Jonathan Harris Charitable Trust Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds* Eric Tomsett The Viney Family John & Manon Antoniazzi Jane Attias David Goldstone CBE LLB FRICS 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 David & Yi Yao Buckley Desmond & Ruth Cecil Mr John H Cook Mr Bruno de Kegel David Ellen Mr Daniel Goldstein Drs Frank & Gek Lim Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Virginia Slaymaker Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mr Geoffrey Bateman Mrs A Beare Ms Molly Borthwick David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Gavin Graham Wim and Jackie Hautekiet-Clare Tony & Susan Hayes Mr Daniel Heaf and Ms Amanda Hill 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 Mr Robert Markwick and Ms Kasia Robinski Mr Brian Marsh Andrew T Mills Dr Karen Morton Mr & Mrs Andrew Neill Mr Roger Phillimore Mr James Pickford Mr Michael Posen Alexey & Anastasia Reznikovich Mr Konstantin Sorokin Martin and Cheryl Southgate Mr Peter Tausig Lady Marina Vaizey Simon and Charlotte Warshaw 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 Berenberg Carter-Ruck We are AD Bronze: Appleyard & Trew LLP BTO Management Consulting AG Charles Russell Speechlys Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations Angus Allnatt Charitable Foundation Axis Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust The Candide Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust 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 The Austin and Hope Pilkington Trust The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter 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 and all others who wish to remain anonymous

London Philharmonic Orchestra | 19

Administration Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Roger Barron Richard Brass Desmond Cecil CMG Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rachel Masters* George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Laurence Watt Neil Westreich David Whitehouse* * Player-Director

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director (maternity leave)

Alison Atkinson Digital Projects Director

Amy Sugarman PA to the Chief Executive / Administrative Assistant

Clare Lovett Education Director (maternity cover)

Finance

Talia Lash Education and Community Project Manager

Albion Media (Tel: 020 3077 4930)

Lucy Sims Education and Community Project Manager

Philip Stuart Discographer

David Burke General Manager and Finance Director David Greenslade Finance and IT Manager Dayse Guilherme Finance Officer

Richard Mallett Education and Community Producer

Concert Management

Development

Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter

Roanna Gibson Concerts Director

Nick Jackman Development Director

Graham Wood Concerts and Recordings Manager

Catherine Faulkner Development Events Manager

American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna 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 Stephanie Yoshida

Damian Davis Transport Manager

Jenny Chadwick Tours Manager Tamzin Aitken Glyndebourne and UK Engagements Manager Alison Jones Concerts and Recordings Co-ordinator

Kathryn Hageman Individual Giving Manager Laura Luckhurst Corporate Relations Manager Anna Quillin Trusts and Foundations Manager Rebecca Fogg Development Co-ordinator

Jo Cotter Tours Co-ordinator

Helen Yang Development Assistant

Orchestra Personnel

Kirstin Peltonen Development Associate

Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians (job-share) Christopher Alderton Stage Manager

Madeleine Ridout Assistant Orchestra Personnel Manager

20 | London Philharmonic Orchestra

Marketing Kath Trout Marketing Director Libby Northcote-Green Marketing Manager Rachel Williams Publications Manager Samantha Cleverley Box Office Manager (Tel: 020 7840 4242) Anna O’Connor Marketing Co-ordinator Natasha Berg Marketing Intern

Matthew Freeman Recordings Consultant Public Relations