London Philharmonic Orchestra 10 Feb 2019 Eastbourne concert programme by London Philharmonic Orchestra

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closer

2018/19 Concert Season

AT eastbourne congress theatre & devonshire park theatre

concert programme

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 Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Devonshire Park Theatre, Eastbourne Sunday 10 February 2019 | 3.00pm

Mozart Oboe Quartet in F major, K370 (16’) Beethoven String Quartet No. 1 in F major, Op. 18 No. 1 (30’) Interval (20’) Brahms Clarinet Quintet in B minor, Op. 115 (36’)

Soloists of the London Philharmonic Orchestra

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL

Contents 2 3 4 5 6 9 10 12

Welcome Orchestra news On stage today About the Orchestra Next concerts Programme notes 2018/19 LPO Eastbourne Appeal Supporters LPO administration

Welcome

Orchestra news

Welcome to the Devonshire Park Theatre, Eastbourne

Asian adventures this spring

Artistic Director Chris Jordan General Manager Gavin Davis Welcome to this afternoon’s performance by the London Philharmonic Orchestra. Please sit back and enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones are switched off during the performance. Thank you. We are excited to welcome the London Philharmonic Orchestra back to our atmospheric Victorian playhouse, the Devonshire Park Theatre, for the final time in this season of afternoon chamber concerts. The historic surroundings and delightful acoustics provide a wonderful backdrop for these much-loved concerts. We’ve worked closely with the Orchestra and its specialists to ensure the venue enhances the orchestral sound and thank you, our audience, for continuing to support the concert series. We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email theatres@lewes-eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, The Point, College Road, Eastbourne, East Sussex, BN21 4JJ.

Next month the Orchestra embarks on a major twoweek tour of Southeast Asia with conductor Vladimir Jurowski and violinist Julia Fischer. This marks our first visit to Taiwan in ten years and our first South Korean tour since 2010, as well as returns to the Chinese cities of Beijing, Tianjin and Shanghai. The tour begins on 3 March, when the Orchestra departs Heathrow for the South Korean capital Seoul. There and in the city of Yongin we will perform works by Brahms, Bruckner, Mendelssohn and Strauss, before flying to Taipei in Taiwan for two concerts at the National Concert Hall. The city of Kaohsiung is the second Taiwanese venue, where we’ll perform at the National Center for the Arts before flying to Beijing to begin the China leg of the tour. Concerts at Beijing’s National Centre for the Performing Arts, the Concert Hall in Tianjin and two concerts at the Oriental Art Center in Shanghai follow, before we return to London on 18 March. In mid-April we jet off again, travelling to New York to give two concerts at Lincoln Center on 14 & 15 April with conductor Edward Gardner, pianist Jean-Efflam Bavouzet and violinist James Ehnes. From there it’s just a short hop to Stamford, Connecticut where we perform the following evening (16 April) at the city’s Palace Theatre. Follow all our touring adventures: twitter.com/lporchestra instagram.com/londonphilharmonicorchestra

Glyndebourne 2019 The 2019 Glyndebourne Festival opens on 18 May, when Berlioz’s La damnation de Faust makes its Festival debut in a new production by Richard Jones, in which the Orchestra will be conducted by Glyndebourne Music Director Robin Ticciati. Later in the season Ticciati conducts the Orchestra in Dvořák’s Rusalka, a revival of Melly Still’s much-loved production. Another first this year is Massenet’s ‘Cinderella’ opera Cendrillon, in its Festival debut directed by Fiona Shaw and conducted by John Wilson. Making a welcome return to the Festival is opera’s greatest comedy, Rossini’s Il barbiere di Siviglia in Annabel Arden’s stylish production, conducted by Rafael Payare. Booking opens on Sunday 3 March. glyndebourne.com

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On stage today

Kevin Lin (violin) joined the London Philharmonic Orchestra as Co-Leader in 2017. Originally from New York, he has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Houston Symphony and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster and Principal Second Violin at The Colburn School and The Curtis Institute of Music. Chair supported by The Candide Trust

Tania Mazzetti (violin) graduated from the Conservatory of Music Guido Cantelli in Novara, before beginning her orchestral career with the Orchestra Symphonica Toscanini under Lorin Maazel. She has also played in the Orchestra del Teatro alla Scala, the Filarmonica della Scala, the Orchestra del Teatro La Fenice di Venezia, the Mahler Chamber Orchestra and the Orchestra dell'Accademia Nazionale di Santa Cecilia. Since 2014 she has led the Orchestra del Teatro Lirico di Cagliari in Sardinia. She joined the LPO in 2016 and became Principal Second Violin in November 2018. Chair supported by Countess Dominique Loredan

David Quiggle (viola) joined the London Philharmonic Orchestra as Principal Viola in 2017. Born in the USA, he has been a leading violist, chamber musician and teacher for more than 20 years. As a member of the Casals Quartet he won prizes in the London, Hamburg and Paolo Borciani string quartet competitions. Solo performances include the Bartók Viola Concerto with the Simón Bolívar Youth Orchestra of Venezuela; Hindemith's Der Schwanendreher with the Medellín Philharmonic; and Mozart's Sinfonia Concertante in Madrid and Valladolid. David has been a frequent guest principal with groups such as the Mahler Chamber Orchestra, the Malaysian Philharmonic and the Chamber Orchestra of Europe.

Pei-Jee Ng (cello) joined the London Philharmonic Orchestra as Co-Principal Cello in 2015. Originally from Australia, he has performed concertos with the the six major Australian symphony orchestras and the Hong Kong Philharmonic, Malaysian Philharmonic, Singapore Symphony, Oulu Symphony, Sinfonia ViVA and Estonian National Symphony orchestras. He made his debut with the Philharmonia Orchestra at the 2011 Chichester Festivities, performing the Elgar Concerto. Ian Hardwick (oboe) studied at the Royal College of Music with Michael Winfield and was awarded funds from the Munster Trust for further studies and concerts following graduation. Other performances as a young graduate included performances at the Purcell Room as part of the Park Lane Group Young Artists Series. In 1986 Ian joined the English National Opera Orchestra, where he was Principal Oboe for five years before joining the LPO as Principal Oboe in 1991. Thomas Watmough (clarinet) studied at The Purcell School and the Guildhall School of Music & Drama. After several years as a freelancer working with many of the British orchestras (particularly with the LPO), he spent nine years as a member of the Royal Philharmonic Orchestra before joining the LPO in 2014 as Principal E-flat Clarinet. He recorded many of the principal clarinet cornerstones of the orchestral repertoire while with the RPO, and Schubert’s Shepherd on the Rock for EMI. Chair supported by Roger Greenwood The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: David & Yi Buckley | Andrew Davenport | William & Alex de Winton | Sonja Drexler | Friends of the Orchestra | Dr Barry Grimaldi | Geoff & Meg Mann | Sir Simon Robey | Victoria Robey OBE | Bianca & Stuart Roden | Caroline, Jamie & Zander Sharp | Eric Tomsett | Laurence Watt | Neil Westreich

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London Philharmonic Orchestra

The London Philharmonic’s closing concert took excellence and courageous programme planning to levels of expectation and emotional intensity more than once defying belief. Here was an orchestra in terrific form, rising to every challenge. Classicalsource.com (LPO at Royal Festival Hall, 2 May 2018: Panufnik, Penderecki & Prokofiev)

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of people every year through activities for families, schools and local communities. 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 the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2018 our series

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Changing Faces: Stravinsky’s Journey charted the life and music of one of the 20th century’s most influential composers, and in 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and British-inspired music from Purcell to the present day. 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 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.

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 100 releases available on CD and to download. Recent additions include a Poulenc disc conducted by Yannick Nézet-Séguin, Tchaikovsky’s Symphonies Nos. 2 & 3 under Vladimir Jurowski, and a film music disc under Dirk Brossé. 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. In 2017/18 we celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO Young Composers programme; the Foyle Future Firsts orchestral training programme; and the LPO Junior Artists scheme for talented young musicians from communities and backgrounds currently underrepresented in professional UK orchestras. The Orchestra’s work at the forefront of digital engagement and social media has enabled it to reach even more people worldwide: as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra

Final concerts this season at Eastbourne's Congress Theatre SUNDAY 24 MARCH 2019 3.00PM CONGRESS THEATRE Glinka Overture, Ruslan and Ludmilla Elgar Cello Concerto Tchaikovsky Symphony No. 5 Darrell Ang conductor Kian Soltani cello London Philharmonic Orchestra

SUNDAY 7 APRIL 2019 3.00PM CONGRESS THEATRE Bax Tintagel Grieg Piano Concerto Sibelius Belshazzar’s Feast Suite, Op. 51 Sibelius Symphony No. 5 Osmo Vänskä conductor Jan Lisiecki piano London Philharmonic Orchestra ‘VÄNSKÄ SCULPTED ONE OF THE SHARPEST, MOST BELLIGERENT READINGS THAT THESE EARS HAVE HEARD.’

The Times on Vänskä conducting Sibelius with the London Philharmonic Orchestra, October 2016

Tickets £13–£25 Premium seats £29 Book now at eastbournetheatres.co.uk or call 01323 412000

twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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Programme notes

Speedread Mozart’s innate wit and wisdom breathe through every bar of his Oboe Quartet. Written in Munich in early 1781, at the same time as he was creating his opera Idomeneo, the Quartet speaks of Mozart’s peripatetic life to that point, as well as heralding his forthcoming move to Vienna. When he died in that city in 1791, Mozart left behind an enormous body of work, which would provide the benchmark for the generation that followed. That included Beethoven, who came to Vienna in 1792 to receive the late Mozart’s spirit from his new teacher Haydn’s hands. The inspiration provided by those two composers is evident in the scores Beethoven wrote during his early years, including his First

Wolfgang Amadeus Mozart 1756–91

1 Allegro 2 Adagio 3 Rondeau: Allegro

Born and raised in Salzburg, Mozart nonetheless constantly sought work elsewhere. His hometown, dominated by its religious court, offered but limited opportunities for a young composer, particularly when it came to writing instrumental music and works for the theatre. Taking leaves of absence, Mozart travelled to the major musical centres of Europe in the hope of finding employment. Sadly, these trips were largely abortive, but they frequently offered commissions for new operas and other occasional works, as well as chances to meet leading instrumentalists and singers.

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String Quartet. And yet, for all his intimidating predecessors, Beethoven’s voice was his own, evinced by the richly discursive work with which he began his unparalleled contribution to the chamber music repertoire. At the very end of Brahms’s life, the spirit of Mozart returned, thanks to clarinettist Richard Mühlfeld. Duly inspired by his performances of Mozart and others, Brahms abandoned his self-imposed retirement and wrote a wonderful burst of compositions for Mühlfeld, including the Clarinet Quintet of 1891. But instead of Mozart’s characteristic zest, Brahms’s music strikes an autumnal note, providing a melancholy conclusion to the composer’s career.

Oboe Quartet in F major, K370 Kevin Lin violin David Quiggle viola Pei-Jee Ng cello Ian Hardwick oboe

It was in Mannheim in 1777–8 that Mozart first encountered the oboist Friedrich Ramm. Following a superb performance of Mozart’s Oboe Concerto, the pair should have become long-standing collaborators, but the vicissitudes of the Holy Roman Empire meant that the Mannheim court soon moved to Munich when Palatinate Elector Karl Theodor inherited the Bavarian throne. Mozart failed to gain a job there too, but he secured a commission for a new opera, Idomeneo, and travelled to the city to oversee rehearsals in late 1780. While in Munich, at the beginning of 1781, Mozart composed a new work for Ramm, a three-movement Oboe Quartet, which received its premiere a couple of weeks before the opera.

Unsurprisingly, given the composer’s theatrical focus at the time, a dramatic vein runs through the F major Oboe Quartet. And yet, despite its fleeting, minor-key enclaves, the initial Allegro is more readily characterised by the spirit of opera buffa, with ducking and diving melodies and chirruping dialogues. It is the violinist who then takes on the principal melody, with the oboe providing ornamentation, as in a da capo aria. A graver note, as if borrowed from Idomeneo, sounds in the ensuing Adagio. This is Mozart at his most pensive,

with the oboe’s leaping, angular melody deepening the sense anguish. The mood is then shrugged off, however, in the lilting Rondeau, returning us to the comic mood of the first movement. But there are tensions here too, not least rhythmical ones, with the oboe playing ‘against’ the prevailing metre and thereby asserting its primacy. Eventually, after a display of dazzling coloratura, the forces come together and Mozart’s Oboe Quartet ends in joy.

Ludwig van Beethoven

String Quartet No. 1 in F major, Op. 18 No. 1 Kevin Lin | Tania Mazzetti violins David Quiggle viola Pei-Jee Ng cello

1770–1827

1 Allegro con brio 2 Adagio affettuoso ed appassionato 3 Scherzo: Allegro molto 4 Allegro

Beethoven arrived in Vienna in 1792, a year after Mozart’s tragic death. He was, effectively, travelling to the Habsburg capital to take up where the late, lamented composer had left off. Beethoven was even carrying a letter to that end, written by his friend Count von Waldstein: You are going to Vienna in fulfilment of your long-frustrated wishes. The Genius of Mozart is still mourning and weeping the death of her pupil. She found a refuge but no occupation with the inexhaustible Haydn; through him she wishes once more to form a union with another. With the help of assiduous labour, you shall receive Mozart’s spirit from Haydn’s hands. It was a daunting task, but Beethoven did as he was told, becoming Haydn’s student shortly after arriving. Their working relationship was often fraught, yet Haydn’s advice was invaluable, as were his introductions

to the musical patrons of Viennese society. Of particular benefit was the Lobkowitz family. Haydn often provided music for their soirées and, in response, the Bohemian Prince had commissioned the Op. 77 string quartets from Haydn, though only two out of the envisioned six had been finished by 1799. It was around that time that Lobkowitz turned to Beethoven and asked him to write another set of six. The resulting Op. 18 quartets may, at times, bear the hallmarks of Haydn’s tutelage – as well as the memory of Mozart – but Beethoven was already seizing the genre for his own, as demonstrated by the F major Quartet that was placed in pole position when the set was published in 1801. Its opening, furtive gestures and the surprising modulation to A flat major that follows are typically audacious. No less dramatic is the soulful second movement, the Adagio affettuoso ed appassionato, supposedly inspired by the tragic denouement of Romeo and Juliet, when the teenage lovers are found lifeless in the Capulet family crypt. The harmonic verve of the first movement returns in the Scherzo and its decidedly rustic trio – here, Haydn is most present – while the finale is fleeter by far, breaking down into wispy but thrilling counterpoint, before

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Programme notes continued

a fortissimo coda caps this engaging work. And it began an extraordinary string quartet project, covering whole of Beethoven’s life and concluding shortly before his death in 1827, with the 16th Quartet, also in F major.

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

Johannes Brahms 1833–97

1 Allegro 2 Adagio 3 Andantino 4 Con moto

At the beginning of the 1890s, Brahms declared that his career as a composer was over. To date, he had written four extraordinary symphonies, all of which were firmly fixed in the repertoire, both at home and abroad, as well as a handful of concertos, several esteemed chamber works and a large body of song. As dear friends began to sicken and die, Brahms realised that his own time would soon be up. But he was encouraged out of selfimposed retirement by the soulful sounds of Richard Mühlfeld, the principal clarinettist of the Meiningen Court Orchestra, whom Brahms called his ‘nightingale’. Originally, Mühlfeld had been a violinist, playing in the first Bayreuth performances of Wagner’s Ring in 1876, but he switched to the clarinet later that year and will forever be linked to the instrument. It was doubtless Mühlfeld’s performances of Mozart’s works for the clarinet, also written towards the end of his (much shorter) life, that so motivated Brahms. The pair had long discussions about the various types of clarinets available and soon Brahms decided to begin a series of 8 | London Philharmonic Orchestra

Clarinet Quintet in B minor, Op. 115 Kevin Lin | Tania Mazzetti violins David Quiggle viola Pei-Jee Ng cello Thomas Watmough clarinet

new works for Mühlfeld, written for the richer, honeyed tones of the A clarinet. The instrument’s unique timbre, as well as memories of Mozart, inspired the lambent melancholy of Brahms’s Clarinet Trio and Quintet, both written in 1891, and the two sonatas that were to follow three years later. There even seem to be a direct reference to Mozart’s Clarinet Quintet in the beguiling thirds with which Brahms begins his Op. 115. Here, however, the motif presages a much more restive movement, with syncopations and a rich harmonic palette. At times, the clarinet is first among equals within the body of the string quartet, but at others there is something rather opposed about their relationship. But whatever confrontations ensue, the music retains its muted, pensive quality. Largely poised, the Adagio also features rhythmic and harmonic disturbances, constantly shifting between major and minor. This soon moves on to a Hungarian soundworld, with echoes of csárdás rhythms and evocative string tremolandos. Once more, the music turns combative, before offering a bittersweet coda. Sprightlier by far is the Andantino, with the clarinet melody working in contrary motion with that of the cello. This too has agitated moments, but happiness is more steadfast than before.

The finale, with its theme and variation structure, returns us to the mood of the first movement. Initially, the clarinet appears passive and it is the cellist who comes soulfully to the fore. After tumbling arpeggios and syncopated rhythms, a third variation offers a touchingly hesitant dialogue. This then bubbles up and takes us into the sweetly sung fourth variation,

before a final, flowing dance. But if this all seems too nonchalant for such an emotional work, Brahms then returns us to the meditative motif with the whole Quintet began and twilight falls once more. Programme notes ÂŠ Gavin Plumley

2018/19 LPO Eastbourne Appeal

hank you for joining the LPO this evening at the beautiful Devonshire Park Theatre. We have enjoyed the opportunity to perform here for the last two seasons, performing some beautiful chamber music, and have been so appreciative of your ongoing support throughout this transitional period. Many of you will know that we performed the inaugural concert at the Congress Theatre when it first opened 55 years ago. We are thrilled to be continuing that tradition on 24 March when we return after two years away, reopening the newly renovated Congress, our home in Eastbourne. Not only this, but 2019 marks 85 years since our first ever concert in Eastbourne with Sir Thomas Beecham in September 1934. As we reach these exciting milestones we encourage you to play your part in celebrating our return to the Congress Theatre, and the longstanding relationship between the LPO and Eastbourne. A great deal has changed since our first concerts here, but the LPO is still as committed to bringing emerging and established artists and exceptional music to Eastbourne as we were under Beecham 85 years ago. Please support this yearâ&#x20AC;&#x2122;s Appeal as we step into a new era of our residency in Eastbourne. We are so grateful for your ongoing support and our relationship feels as strong as ever. Hereâ&#x20AC;&#x2122;s to another 85 years!

To donate to the 2018/19 Eastbourne Appeal please call Ellie Franklin, Development Assistant, on 020 7840 4225 or email ellie.franklin@lpo.org.uk. Thank you for your support.

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Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle An anonymous donor Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich The Tsukanov Family Dr James Huang Zheng (of Kingdom Music Education Group) Principal Associates Gabor Beyer, through BTO Management Consulting AG In memory of Ann Marguerite Collins Mr & Mrs Makharinsky Associates Steven M. Berzin Richard Buxton Kay Bryan William & Alex de Winton George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons David & Yi Buckley John Burgess In memory of Allner Mavis Channing Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Hamish & Sophie Forsyth Virginia Gabbertas Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Rehmet Kassim-Lakha de Morixe Countess Dominique Loredan Geoff & Meg Mann

Sally Groves & Dennis Marks Robert Markwick & Kasia Robinski Melanie Ryan Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt Silver Patrons Dr Christopher Aldren Peter Blanc Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Will & Kate Hobhouse Matt Isaacs & Penny Jerram John & Angela Kessler The Metherell Family Simon Millward Mikhail Noskov & Vasilina Bindley Susan Wallendahl Guy & Utti Whittaker Bronze Patrons Anonymous donors Michael Allen Andrew Barclay Mr Geoffrey Bateman Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel Mr John L G Deacon David Ellen Ignor & Lyuba Galkin Mrs Irina Gofman David Goldberg Mr Daniel Goldstein David & Jane Gosman Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home Mr James R. D. Korner

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Rose & Dudley Leigh Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Jacopo Pessina Mr Roger Phillimore Mr Michael Posen Tatiana Pyatigorskaya Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr Christopher Stewart Mr & Mrs John C Tucker Andrew & Rosemary Tusa Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Christopher Williams Ed & Catherine Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Margot Astrachan Mr Philip Bathard-Smith Mr Edwin Bisset Dr Anthony Buckland Mr & Mrs Stewart Cohen Sir Alan Collins KCVO David & Liz Conway Mr Alistair Corbett Mrs Alina Davey Guy Davies Henry Davis MBE Mr Richard Fernyhough Patrice & Federica Feron Ms Kerry Gardner Ivan Hurry Per Jonsson Mr Ralph Kanza Ms Katerina Kashenceva Vadim & Natalia Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Christopher Little

Paul & Brigitta Lock Mr Peter Mace Patricia & Michael McLarenTurner Mr John Meloy Andrew T Mills Dr Karen Morton Mrs Jennifer Oxley Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Natalie Pray Mr Christopher Querée Martin & Cheryl Southgate Ms Nadia Stasyuk Matthew Stephenson & Roman Aristarkhov Louise Walton Howard & Sheelagh Watson Des & Maggie Whitelock Liz Winter Bill Yoe Supporters Mr John D Barnard Mr Keith Bolderson Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Christopher Fraser OBE Will Gold Mr Peter Gray Mrs Maureen HooftGraafland The Jackman Family Mr David MacFarlane Mr Frederic Marguerre Mr Mark Mishon Mr Stephen Olton Mr David Peters

Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson Ms Jenny Watson CBE Mr John Weekes Mr Trevor Weston Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Irina Gofman (Russia) Joyce Kan (China/Hong Kong) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen)

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Xenia Hanusiak Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners IMG Pictet Bank Steppes Travel White & Case LLP

Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK

John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute Newcomen Collett Foundation The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation The Radcliffe Trust Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

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Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Premier classical@premiercomms.com Tel: 020 7292 7355/7335

David Burke General Manager and Finance Director

Talia Lash Education and Community Manager