CONCERT PROGRAMME
2018/19 CONCERT SEASON
AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL
2019/20 concert season at Southbank Centre
CONCERT PROGRAMME
Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI Principal Conductor Designate EDWARD GARDNER supported by Mrs Christina Lang Assael Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER CBE AM Chief Executive Designate DAVID BURKE
Southbank Centre’s Royal Festival Hall Wednesday 11 March 2020 | 7.30pm
Beethoven Triple Concerto in C major for piano, violin and cello, Op. 56* (34’) Interval (20’) Mahler Symphony No. 1 in D (56’)
Robin Ticciati OBE conductor Anne-Sophie Mutter violin Khatia Buniatishvili piano Pablo Ferrández cello *Generously supported by an anonymous donor Tonight’s concert is dedicated to the memory of Susanne Beer.
The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
Contents 2 Welcome Orchestra news 3 In memory of Susanne Beer 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Robin Ticciati OBE 7 Anne-Sophie Mutter 8 Khatia Buniatishvili 9 Pablo Ferrández 10 On stage tonight 11 Programme notes 14 Recommended recordings 15 Anne-Sophie Mutter & Friends Wagner Ring Cycle 2021 16 LPO 2020/21 season: Now on sale 17 Sound Futures donors 18 Supporters 20 LPO administration
Welcome
Welcome to Southbank Centre
LPO 2020/21 season: on sale now
We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries, please ask a member of staff for assistance.
Booking for our 2020/21 season is now open, at lpo.org.uk and via the LPO Ticket Office (020 7840 4242).
Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location.
Pick up a season brochure at Royal Festival Hall this evening, browse and book online at lpo.org.uk, or call 020 7840 4200 to request a brochure by post.
Explore across the site with Foyles, Pret, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Spiritland, Honest Burger, Côte Brasserie, Skylon and Topolski. 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 us on 020 3879 9555, or email customer@southbankcentre.co.uk
On tour during March Following this evening’s concert the Orchestra, together with conductor Robin Ticciati and tonight’s soloists, will head off for a European tour taking in Luxembourg, Essen, Düsseldorf, Munich, Vienna, Frankfurt and Hanover, before returning for concerts in Eastbourne and Royal Festival Hall at the end of the month. Follow our touring adventures on Twitter or Instagram: @LPOrchestra
@londonphilharmonicorchestra
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 AND WATCHES should be switched off before the performance begins.
Out now The Spring 2020 edition of our free LPO magazine, Tune In. Copies are available at the Welcome Desk, Level 2, Royal Festival Hall, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic
2 | London Philharmonic Orchestra
Brett Dean: new Composer in Residence We are delighted to announce Brett Dean as the LPO’s new Composer in Residence for three years from September 2020. The Orchestra worked closely with Dean on his opera Hamlet in 2017, which was premiered at Glyndebourne to critical acclaim. Our new 2020/21 Royal Festival Hall season features three of his works: The Players, Komarov’s Fall and the Cello Concerto. Dean will also take on the role of Composer Mentor to the LPO’s Young Composers programme, providing guidance and expertise to the five rising stars, and will conduct the annual Debut Sounds showcase of their work. lpo.org.uk/newseason
The London Eye turns 20 From 6–9 March the London Eye hosted a weekend of immersive pod takeovers to celebrate the South Bank landmark’s 20th birthday by showcasing the best that London has to offer. We were delighted to be invited to join the celebrations in a pod featuring a live LPO string quartet: others included West End performances, a sensory experience celebrating the city’s Royal Parks, an ode to the Royal family, and a quintessential British pub!
In memory of Susanne Beer 1967–2019
Tonight’s concert is dedicated to the memory of Susanne Beer, former LPO Co-Principal Cellist, who passed away on 29 December 2019 following a long battle with melanoma. Our thoughts go out to Susi’s family and friends, many of whom we warmly welcome to the concert this evening.
Susi was born into a family of musicians in Bavaria. After studies in Salzburg, and with William Pleeth in London, she joined the London Philharmonic Orchestra in 1995 as Co-Principal Cello. During her time with us, she served as the principal continuo cellist at Glyndebourne – to this day if I hear Mozart’s Figaro, not only do I immediately recall Susi’s characterful, stylish playing, but also I picture her, beautifully immersed in the music. Similarly, she could draw an intensity of expression out of her cello in the solo of Strauss’s opera Capriccio. Early on in her career Susi impressed the 84-year-old Sir Georg Solti so much with her playing of the solo in Don Giovanni that he subsequently invited her to guest in his World Orchestra for Peace. After 18 years with the LPO, Susi found her ultimate calling as a teacher, specialising in encouraging children to play the cello. She loved teaching them; they loved being taught by her. This led to her founding her own school, The Cello Corner.
Susi coped valiantly with her tragic illness, surprising her many friends with her innate positivity and realism. I recall asking her how this attitude was possible. She replied that she was incredibly lucky to have found total fulfilment in her professional and personal life. On 11 December 2019 Susi came to a London Philharmonic Orchestra concert, where she effectively said goodbye to her colleagues. She had shown us how to live, and how to embrace life to the very end. Our hearts and thoughts go out to her husband Glen, her son Jan and the Beer family. Thomas Eisner, LPO First Violin
The Susanne Beer Cello Corner Foundation Towards the end of her life Susi decided to create The Susanne Beer Cello Corner Foundation, so that she could continue to support young musicians well into the future. The Foundation supports young musicians in attaining excellence in performance through fine stringed instrument loans, competition prizes and assistance with tuition costs. To donate, please visit virginmoneygiving.com/fund/LPO/SusanneBeer To find out more about The Susanne Beer Cello Corner Foundation, please visit 60minconcerts.com/foundation
London Philharmonic Orchestra | 3
London Philharmonic Orchestra
The London Philharmonic is playing at the peak of its form. Richard Fairman, The Financial Times (27 September 2019: Vladimir Jurowski conducts Knussen, Britten & Tchaikovsky at Royal Festival Hall)
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 concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own 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, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2017 Vladimir Jurowski celebrated his tenth anniversary as the Orchestra’s Principal Conductor. Edward Gardner is currently Principal Conductor Designate, and will take up the position when Jurowski’s tenure concludes in September 2021. 4 | London Philharmonic Orchestra
The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2019 we celebrated the music of Britain in our festival Isle of Noises, exploring music from and inspired by the British Isles, from Purcell to the present day. This year’s focus is our 2020 Vision series, which features some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier. The London Philharmonic Orchestra enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sellout audiences worldwide.
Pieter Schoeman leader
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. We recently 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. Our dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra
Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega
The London Philharmonic Orchestra has recorded many blockbuster film scores, 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 Mahler’s Symphony No. 4 conducted by Vladimir Jurowski, Mozart chamber works with LPO Principal players, and Ravi Shankar’s only opera, Sukanya.
Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. 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 appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. 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. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. 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
Robin Ticciati OBE conductor
The mercurially kaleidoscopic score is rendered with fastidious attention to detail by the London Philharmonic under Robin Ticciati’s direction. © Marco Borggreve
The Independent, May 2019 (La damnation de Faust at Glyndebourne)
Robin Ticciati OBE has been Music Director of the Deutsches Symphonie-Orchester Berlin since 2017 and Music Director of Glyndebourne Festival Opera since 2014. He was Principal Conductor of the Scottish Chamber Orchestra from 2009–18. He is a regular guest conductor with the London Philharmonic Orchestra, London Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Budapest Festival Orchestra and Chamber Orchestra of Europe. Guest-conducting highlights in recent years also include the Vienna Philharmonic, Czech Philharmonic, Swedish Radio Symphony, Royal Concertgebouw Orchestra, Orchestre National de France, Philadelphia Orchestra, Cleveland Orchestra, Gewandhausorchester Leipzig and Staatskapelle Dresden. Since becoming Music Director at Glyndebourne, he has conducted new productions of Berlioz’s La damnation de Faust, Debussy’s Pelléas et Mélisande and Strauss’s Der Rosenkavalier (all with the London Philharmonic Orchestra), as well as Mozart’s Die Entführung aus dem Serail and La clemenza di Tito. Highlights as a guest opera conductor include Peter Grimes at La Scala, Le nozze di Figaro at the Salzburg Festival, and Eugene Onegin at both the Royal Opera House and the Metropolitan Opera. Following this evening’s concert, Robin Ticciati will embark on a tour of Germany, Luxembourg and Austria with the London Philharmonic Orchestra, and this summer he will conduct the Orchestra in Poulenc’s Dialogues des Carmelites at the Glyndebourne Festival. Last season, in addition to their Glyndebourne collaborations, he conducted the Orchestra in Bruckner’s Symphony No. 7 and Sibelius’s Violin Concerto with
6 | London Philharmonic Orchestra
soloist Christian Tetzlaff at Royal Festival Hall and the Théâtre des Champs Elysées in Paris. His highly acclaimed discography includes Berlioz with the Swedish Radio Symphony Orchestra; Haydn, Schumann, Berlioz and Brahms with the Scottish Chamber Orchestra; Dvořák, Bruckner and Brahms with the Bamberg Symphony Orchestra; and Duparc, Ravel and Bruckner with the Deutsches Symphonie-Orchester Berlin. Born in London, Robin Ticciati is a violinist, pianist and percussionist by training. He was a member of the National Youth Orchestra of Great Britain when, aged 15, he turned to conducting under the guidance of Sir Colin Davis and Sir Simon Rattle. He holds the position of ‘Sir Colin Davis Fellow of Conducting’ at the Royal Academy of Music. Robin was awarded an OBE for services to music in the Queen’s Birthday Honours (2019).
Anne-Sophie Mutter
© Japan Art Association/The Sankei Shimbun
violin
This was a performance of pulseless poise, whistle-clean harmonics and old-fashioned, cantabile glamour. The Times, November 2016 (Beethoven’s Violin Concerto with the LPO under Robin Ticciati at Royal Festival Hall)
Anne-Sophie Mutter is a musical phenomenon: for more than 40 years she has been a fixture in all the world’s major concert halls, making her mark on the classical music scene as a soloist, mentor and visionary. The four-time Grammy Award-winner is equally committed to the future of music: she has given world premieres of 28 works – Jörg Widmann, Unsuk Chin, Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina, Witold Lutoslawski, Norbert Moret, Krzysztof Penderecki, André Previn, Wolfgang Rihm and John Williams have all composed for her. Furthermore, she dedicates herself to numerous benefit projects and to supporting tomorrow’s musical elite: in 1997 she founded the Association of Friends of the Anne-Sophie Mutter Foundation, to which the Anne-Sophie Mutter Foundation was added in 2008. Since 2011 she has regularly shared the spotlight on stage with her ensemble of fellows, ‘Mutter’s Virtuosi’. Anne-Sophie Mutter’s 2020 concert calendar features performances in Asia, Europe and North America. As part of the Beethoven 250th anniversary year, the violinist spotlights some of the works that make Beethoven immortal. In these concerts, the bridge from the avant-gardist of the 1790s to the present day is built by Jörg Widmann, whose new string quartet, Study on Beethoven, Anne-Sophie Mutter commissioned; the work is dedicated to her and received its world premiere in Tokyo last month. Mutter returns to Southbank Centre on 26 March, when, as part of a string quartet comprising London Philharmonic Orchestra Principals, she will give the work’s UK premiere at Queen Elizabeth Hall, alongside Beethoven’s String Trio No. 5 and the ‘Harp’ Quartet. All proceeds from this concert will be dedicated to Crisis, the national charity for homeless people.
Anne-Sophie Mutter began 2020 by performing the Adagio from Bach’s Concerto for Violin, Strings and Basso Continuo, BWV 1042, with the Vienna Philharmonic under Semyon Bychkov, celebrating the 150-year anniversary of the Musikverein building. Later in January she returned to the Vienna Philharmonic, this time under multiple Oscar-winner John Williams, in a programme entitled ‘Across the Stars’ featuring music from Star Wars, Schindler’s List, The Geisha, Harry Potter, Dracula and Munich. Most of these compositions had been re-arranged by Williams especially for Anne-Sophie Mutter. On 21 January Mutter embarked upon her 2020 Beethoven anniversary concerts in the USA, giving several recitals with pianist Lambert Orkis, taking these two musicians into the 32nd year of their artistic collaboration. Their recital programme for the Beethoven jubilee also sees the duo perform in China, Germany, the UK, Japan, Austria and Taiwan. Anne-Sophie Mutter, Yo-Yo Ma and Daniel Barenboim celebrate the Beethoven anniversary by recording the composer’s Triple Concerto. Pairing the Concerto with the Seventh Symphony, this new Deutsche Grammophon album also marks the 20th birthday of the West-Eastern Divan Orchestra. The album is set for release on 20 March 2020, 40 years after the appearance of the legendary Triple Concerto recording made by Mutter and Ma under Herbert von Karajan. Anne-Sophie Mutter has been awarded the German Grand Order of Merit, the French Medal of the Legion of Honour, the Bavarian Order of Merit, the Decoration of Honour for Services to the Republic of Austria, and numerous other honours.
London Philharmonic Orchestra | 7
Khatia Buniatishvili piano
An extraordinary pianist with a magnificent technique.
© Gavin Evans
Los Angeles Times, July 2019 (Tchaikovsky Piano Concerto No. 1 with the Los Angeles Philharmonic under Gustavo Dudamel)
Born in 1987 in Batumi (Georgia), French-Georgian pianist Khatia Buniatishvili discovered the piano at the age of three and gave her first concert with the Tbilisi Chamber Orchestra aged six. Since then, she has established herself as one of today’s most prominent classical music artists, at home on the world’s great stages and universally celebrated for her ‘authenticity, charisma, and persuasiveness’(Neue Zürcher Zeitung) and her ‘playing straight from the heart’ (The Guardian). Following her belief that humanity is at the centre of all art, Khatia has been involved in numerous social rights projects, such as the DLDwomen13 Conference in Munich (2013); ‘To Russia with Love’, a concert in Berlin to speak out against the violation of human rights in Russia (2013); a charity concert in Kiev for wounded persons in the Anti-Terrorist Operation Zone (2015); the United Nations Climate Change Conference Marrakech Climate Show (2016); and the United Nation’s 70th Anniversary Humanitarian Concert in Geneva to benefit Syrian refugees (2015). She is an ambassador of Plan International, a UK-based organisation for children’s rights and equality for girls, and the Paris-based ‘Fondation Cœur et Recherche’ for cardiovascular research. Tonight’s concert is Khatia’s debut with the London Philharmonic Orchestra, and will be followed by a European tour with the Orchestra under Robin Ticciati. Other highlights of the 2019/20 season include a US tour with the Royal Philharmonic Orchestra under Mark Wigglesworth, as well as performances with the London Symphony Orchestra at the Barbican and a recital appearance at Wigmore Hall. The 2018/19 season featured performances with the Seattle Symphony, Hong Kong Philharmonic and RSO Vienna, as well as
8 | London Philharmonic Orchestra
international tours with the Tonhalle Orchestra Zürich in Asia and Orchestre National de Lyon in Germany. Khatia made her US debut at Carnegie Hall in 2008, and has since performed at the Hollywood Bowl, BBC Proms, Salzburg Festival, Verbier Festival, Menuhin Festival Gstaad, La Roque-d ‘Anthéron Festival, Klavier-Festival Ruhr and Progetto Martha Argerich. Among Khatia’s musical partners are conductors Zubin Mehta, Plácido Domingo, Kent Nagano, Yannick Nézet-Séguin, Neeme Järvi, Paavo Järvi, Gianandrea Noseda, Vladimir Ashkenazy, Long Yu, Semyon Bychkov, Myung-Whun Chung and Philippe Jordan. She has appeared with the Israel Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia Orchestra, Toronto Symphony, China Philharmonic, NHK Symphony, London Symphony, BBC Symphony, Orchestre de Paris, Filarmonica della Scala and Munich Philharmonic orchestras. An exclusive Sony Classical artist, Khatia’s discography includes Franz Liszt (2011), Chopin (2012), Motherland (2014) and Kaleidoscope (2016), as well as piano trios with Gidon Kremer and Giedrė Dirvanauskaitė (2011) and violin sonatas with Renaud Capuçon (2014). She also collaborated with rock group Coldplay on their album ‘A Head Full of Dreams’. Khatia’s most recent recordings reunite her with two close musical partners: Zubin Mehta and the Israel Philharmonic, in concertos by Beethoven and Liszt; and Paavo Järvi and the Czech Philharmonic, in Rachmaninoff’s Piano Concertos Nos. 2 & 3. Khatia studied in Tbilisi with Tengiz Amiredjibi and in Vienna with Oleg Maisenberg.
Pablo Ferrández cello
Pablo Ferrández is truly special … great sound, very refined vibrato, flawless left and right hand, and a true musician.
© Igor Studio
Anne-Sophie Mutter
Prizewinner at the 15th International Tchaikovsky Competition, the 5th Paulo International Cello Competition and ICMA 2016 Young Artist of the Year, Pablo Ferrández announces himself as a musician of stature. Praised for his authenticity and hailed by critics as ‘one of the top cellists’ (Rémy Louis, Diapason), he continues to build a brilliant career through collaborations with internationally renowned artists and world-leading orchestras. A captivating performer with a compelling technique, he has been described as ‘an inspirational and expressive soloist who always places his skills at the service of the composer.’ (Rheingau Festival Award Jury). Recent highlights include his debut at the Hollywood Bowl with the Los Angeles Philharmonic under Gustavo Dudamel; performances of Brahms’s Double Concerto with Anne-Sophie Mutter; appearances with the Bamberg Symphony under Christoph Eschenbach within the Orpheum Foundation Programme; with the Gürzenich Orchester at the Berlin Philharmonie; and with the Israel Philharmonic, London Philharmonic, Orchestre de la Suisse Romande, Rotterdam Philharmonic, Vienna Symphony, Antwerp Symphony, Konzerthaus Berlin, Rundfunk-Sinfonieorchester Berlin, Maggio Musicale Fiorentino, St Petersburg Philharmonic, Royal Liverpool Philharmonic and BBC Scottish Symphony orchestras. He is also frequently invited to the Beethoven Easter Festival, Folle Journée, Intonations Festival, TransSiberian Arts Festival and Rostropovich Festival.
under Daniele Gatti, the Orchestre National de France, Basel Symphony, Dusseldorf Symphony, Tonkunstler Symphony, Royal Philharmonic, Borusan Philharmonic, Orquestra Sinfónica do Porto, Detroit Symphony, Columbus Symphony and Princeton Symphony orchestras, and returns to the Louisiana Philharmonic, Barcelona Symphony, OSPA and Bilbao Symphony orchestras. Pablo Ferrández was 2019/20 Artist-in-Residence at the Orchestra Filarmonica Arturo Toscanini, as well as at the Verbier Festival, and appeared in recital in Lucerne, Vienna, Amsterdam, Hamburg, Cologne, Baden-Baden, Paris, London, Birmingham, Brussels, Budapest, Lisbon and Barcelona as a recipient of the ECHO Rising Stars Award. As a recitalist and chamber musician, Pablo frequently collaborates with such artists as Vadim Repin, Martha Argerich, Gidon Kremer, Joshua Bell, Yuja Wang, Nikolai Lugansky, Maxim Rysanov, Beatrice Rana, Denis Kozhukhin, Ray Chen, Alice Sara Ott, Elena Bashkirova, Michael Barenboim, Luis del Valle and Sara Ferrández. Born in Madrid in 1991 into a family of musicians, at the age of 13 Pablo Ferrández joined the prestigious Escuela Superior de Música Reina Sofía to study with Natalia Shakhovskaya. He subsequently completed his studies at the Kronberg Academy with Frans Helmerson. He plays the Stradivarius ‘Lord Aylesford’ (1696), thanks to the Nippon Music Foundation.
As well as tonight’s concert followed by a European tour alongside Anne-Sophie Mutter, Khatia Buniatishvili and the London Philharmonic Orchestra under Robin Ticciati, other highlights this season include debuts with the Bayersichen Rundfunk Symphony Orchestra
London Philharmonic Orchestra | 9
On stage tonight
First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich
Kevin Lin Co-Leader Chair supported by The Candide Trust
Vesselin Gellev Sub-Leader Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave
Catherine Craig Thomas Eisner Chair supported by the Chiltern Friends of the LPO
Martin Höhmann Robert Pool Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett
Georgina Leo Rebecca Shorrock Morane Cohen-Lamberger Eleanor Bartlett Katalin Varnagy Chair supported by Sonja Drexler
Nilufar Alimaksumova Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Emma Oldfield Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley
Joseph Maher Marie-Anne Mairesse Ashley Stevens Ioana Forna Sioni Williams Sheila Law Nynke Hijlkema Harry Kerr Violas David Quiggle Principal Richard Waters Co-Principal Robert Duncan Ting-Ru Lai Katharine Leek Susanne Martens
Benedetto Pollani Joseph Fisher Stanislav Popov Daniel Cornford Laura Vallejo Isabel Pereira Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden
Pei-Jee Ng Co-Principal Leonardo Sesenna Francis Bucknall Laura Donoghue David Lale Elisabeth Wiklander Sue Sutherley Susanna Riddell Tom Roff Double Basses Kevin Rundell* Principal Hugh Kluger George Peniston Tom Walley Laura Murphy David Johnson Charlotte Kerbegian Lowri Morgan Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Caroline, Jamie & Zander Sharp
Stewart McIlwham* Hannah Grayson Piccolos Stewart McIlwham* Principal Hannah Grayson Sue Thomas* Oboes Ian Hardwick* Principal Alice Munday Sue Böhling* Amy Roberts
Chair supported by Gill & Garf Collins
10 | London Philharmonic Orchestra
Cor Anglais Sue Böhling* Principal Chair supported by Dr Barry Grimaldi
Clarinets Thomas Watmough Principal
Offstage Trumpets Paul Beniston* Colin Clague William O’Sullivan Trombones Mark Templeton* Principal
Chair supported by Roger Greenwood
Chair supported by William & Alex de Winton
James Maltby Paul Richards* Charys Green
David Whitehouse Tom Berry
E-flat Clarinets Charys Green James Maltby Bass Clarinet Paul Richards* Principal Bassoons Jonathan Davies Principal
Bass Trombone Alexander Kelly Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Chair supported by Victoria Robey OBE
Henry Baldwin Co-Principal
Chair supported by Sir Simon Robey
Gareth Newman Simon Estell* Contrabassoon Simon Estell* Principal Horns John Ryan* Principal Alex Wide Guest Principal Martin Hobbs Gareth Mollison Elise Campbell Duncan Fuller Lindsay Kempley Jonathan Lipton Trumpets Paul Beniston* Principal Chair supported by Donors to the 2019 Gala Player Appeal
James Fountain* Principal Anne McAneney* David Hilton Robin Totterdell Ryan Linham
Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport
Keith Millar Oliver Yates Harp Rachel Masters Principal * Holds a professorial appointment in London Meet our members: lpo.org.uk/players
The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert: Friends of the Orchestra
Programme notes
Speedread A concerto for piano, violin and cello is a rare thing, but somehow even more surprising is that one of the few examples of such a conversational piece should be by Beethoven. And indeed, though written around the same time as the muscular ‘Eroica’ Symphony, it finds the composer in unusually relaxed mood, expansive rather than dramatic, and, in the finale, indulging in a bit of regional colour.
Ludwig van Beethoven 1770–1827
Mahler’s First Symphony is the surging creation of a man in his twenties who is already looking back to the world of his Austro-Bohemian childhood, marvelling at nature and recalling early love affairs. And while, as so often in his music, Mahler shows that life’s heartless ironies are there to be engaged, the work ends in what seems a blazing statement of a young man’s belief in the future.
Triple Concerto in C major for piano, violin and cello, Op. 56 1 Allegro 2 Largo – 3 Rondo alla polacca Anne-Sophie Mutter violin Khatia Buniatishvili piano Pablo Ferrández cello
‘Did he who wrote the Ninth write thee?’ This glib William Blake paraphrase by one writer from the first half of the last century is not at all untypical of the way in which Beethoven’s affable Triple Concerto has been dispraised over the years. Yet, despite its relative unpopularity with musicologists suspicious of its apparent lack of typically Beethovenian punch, the work has retained a place in the repertoire, and along with Mozart’s Sinfonia Concertante for violin and viola, and Brahms’s Double Concerto for violin and cello, is one of very few post-Baroque concertos for multiple soloists still to receive anything like regular performance. It enjoyed a fair number of outings in Beethoven’s day too, despite the appearance of having been carefully tailored to suit the particular talents of its original interpreters. Composed in 1803–04, it was intended for Beethoven’s patron and piano pupil Archduke Rudolph, a good musician but a player of relatively modest ability, and thus it is that the piano-writing, for all its
elegance and good taste, lacks the kind of difficulty found in the solo concertos. The violin and cello parts, on the other hand, were written for top professional virtuosi – the violinist Carl August Siedler and the cellist and composer Anton Kraft, the man for whom Haydn had composed his D major Concerto – and this is reflected in the more technically demanding roles these instruments are given. These were the players at the work’s private premiere in 1804, and further performances followed with various combinations of soloists until the work was finally heard at a public concert for the first time in May 1808. Unfortunately it made a poor impression on that occasion, falling early victim ( judging from the report of Beethoven’s friend Anton Schindler) to performers who ‘undertook it too lightly’. To more modern-day dismissals of the Triple Concerto as ‘weak’ Beethoven, the 20th-century writer Hans Keller once offered the answer that ‘we have perhaps
London Philharmonic Orchestra | 11
Programme notes continued
come to realise that Beethoven’s imperfections are not lack of perfections, but absence of completeness – in view of things to come’. What was to come in this case were the Fourth Piano Concerto and the Violin Concerto, both of whose laid-back spaciousness, and a few other details besides, owe something to the expansive nature of the Triple Concerto. More importantly, however, the Triple Concerto has glories of its own. The very opening is quietly original, its first theme being announced mysteriously by cellos and basses on their own before becoming the basis of a drawn-out orchestral crescendo. It is with this theme that the soloists eventually enter one by one, but the movement has a wealth of melodic material as well as a few surprises, not the least being the triumphantly
loud return to the main theme after the central development section. The Largo (in A flat major) is lyrical and uncomplicated, its mood of tranquillity set by a sublime opening cello solo, while the way in which it leads directly to the finale places it in the same category as its counterparts in the Violin Concerto and the Fourth Piano Concerto. The finale itself is a boisterous Rondo in the style of a polonaise, a familiar enough style to us now thanks to Chopin, but in Beethoven’s day a dance whose place in orchestral art-music was relatively new. The Polish flavour reaches its height in an ebullient episode about midway through, but the whole movement has a freshness and a vigour that make it a fitting conclusion to this relaxed yet expertly crafted work.
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
12 | London Philharmonic Orchestra
Gustav Mahler 1860–1911
Mahler once told a friend that his First Symphony was ‘the most spontaneous and daringly composed of my works’, a surprising remark when one considers that it probably took him over four years to write (from 1884 to 1888), and that even then it went through several revisions before reaching its final form. At its premiere in November 1889 in Budapest (where Mahler was at that time conductor of the Royal Opera), it had five movements and went under the title of ‘Symphonic Poem in two parts’; for subsequent performances in Hamburg and Weimar it acquired a title – ‘Titan’, after the novel by the German Romantic writer Jean Paul – and also a written programme; and it was not until its fourth performance, in Berlin in 1896, that it emerged as more or less the four-movement ‘Symphony’ we know today (and will hear tonight), without title or programme, and without the original second movement entitled ‘Blumine’ (‘Flowers’). Clearly his initial feeling that ‘it would be child’s play for performers and listeners’ was somewhat misplaced, and indeed audience reaction to the Symphony in its early years of existence was hostile. That may explain Mahler’s indecision over how to present it but, for all that, this debut by one of the greatest of all symphonists has a bursting energy and freshness to it that can make the blood run faster in the veins. Mahler’s suppressed programme for the ‘Symphonic Poem’ labelled its two parts as ‘From the Days of Youth’ (movements 1 and 2) and the Dante-esque ‘Commedia humana’ (movements 3 and 4). Certainly there is a nostalgic feel to the first movement; even
Symphony No. 1 in D 1 2 3 4
Langsam. Schleppend – Immer sehr gemächlich [Slow, held back – Always very leisurely] Kräftig bewegt, doch nicht zu schnell – Trio: Recht gemächlich [Moving strongly, but not too fast – Trio: leisurely] Feierlich und gemessen, ohne zu schleppen – Sehr einfach und schlicht wie eine Volksweise [Solemn and measured, without dragging – Very simple, like a folk melody] Stürmich bewegt – Sehr gesangvoll [Tempestuously – Very melodious]
though Mahler was only in his mid-20s when he began it, it is filled with sounds remembered from his Moravian childhood, particularly in the spaciousness of the opening pages, which present a wide-open sonic landscape peppered by cuckoo cries and bugle calls from distant barracks. ‘The awakening of nature and early dawn’ was how Mahler described it in his programme, a phenomenon he may well have missed in his busy conducting career. Eventually the music coalesces into melody and moves into the main part of the movement, where again there is a sense of looking back as Mahler borrows a theme from ‘Ging heut’ Morgen übers Feld’, one of his Lieder eines fahrenden Gesellen (‘Songs of a Wayfarer’) composed around the same time as the Symphony was begun. The initially radiant but ultimately darkening song had recalled a youthful love gone wrong, and was inspired by just such an episode in Mahler’s own life. The symphonic movement, however, ends in optimistic vein.
Composing is like playing with building blocks, where new buildings are created again and again, using the same blocks. Indeed, these blocks have been there, ready to be used, since childhood, the only time that is designed for gathering. Gustav Mahler to his friend Natalie Bauer-Lechner Continued overleaf London Philharmonic Orchestra | 13
Programme notes continued
The second movement is rustic and strongly rhythmic, Mahler’s affectionate evocation of the rural dances of his childhood and their favourite form, the waltz-like Ländler. Again there is melodic material derived from a song – ‘Hans und Grethe’ from his Lieder and Gesänge of the early 1880s – though this time less overtly presented and without apparent specific significance. A central ‘Trio’ brings a more graceful mood, before the bucolic lurchings of the first section return. The ‘Human Comedy’ part of the Symphony opens with a funeral march, though one weirdly based on the nursery tune of ‘Frère Jacques’ (or ‘Bruder Martin’, as Mahler would have known it), initially intoned by a glassily muted solo double bass and then taken up and adorned by the other instruments over statelytreading timpani and basses. Mahler’s programme explains that it was inspired by a well-known engraving from an Austrian children’s book, showing a huntsman’s funeral in which the coffin is attended by an assortment of woodland animals and village musicians. ‘The movement is intended to express alternately the moods of jesting irony and eerie brooding’, Mahler declared; the former can certainly be heard in the episode of Klezmer-like band music that appears twice, but there is also a central episode, based on another Gesellen song, ‘Die zwei blauen Augen’ which offers perhaps the most dreamily reposeful moments in the whole Symphony. The mood is shattered by the intrusion of the last movement – ‘Dall’ Inferno al Paradiso, as the sudden cry of a wounded heart’ according to the discarded programme. The movement brings together material from its predecessors, but there is more than a formal struggle going on here. The frenzied anguish of the opening gives way to a long and consoling string theme, but bursts out again, only to be challenged by a new version of the first theme, proposed quietly at first by the trumpets but then quickly growing in confidence. A return of the nature music of the Symphony’s opening questions the seeming inevitability of the direction things are taking, but eventually the main theme creeps back in on violins to begin its inexorable build towards a final peroration, which, when it comes, is as lifeaffirmingly emphatic as in any Mahler symphony. Programme note © Lindsay Kemp
14 | London Philharmonic Orchestra
Recommended recordings of tonight’s works by Laurie Watt Beethoven: Triple Concerto Giuliano Carmignola | Sol Gabetta | Dejan Lazić Basel Chamber Orchestra | Giovanni Antonini (Sony) or Anne-Sophie Mutter | Mark Zeltser | Yo-Yo Ma Berlin Philharmonic | Herbert von Karajan (Deutsche Grammophon) Mahler: Symphony No. 1 (see below) London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0070) or London Philharmonic Orchestra | Klaus Tennstedt (LPO Label LPO-0012)
Mahler’s Symphony No. 1 on the LPO Label Gustav Mahler Symphony No. 1 in D major (inc. ‘Blumine’) Vladimir Jurowski conductor London Philharmonic Orchestra £9.99 | LPO-0070 Gustav Mahler Symphony No. 1 in D major Lieder eines fahrenden Gesellen Klaus Tennstedt conductor Thomas Hampson baritone London Philharmonic Orchestra £9.99 | LPO-0012
100+ recordings available from lpo.org.uk/ recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Primephonic, Idagio, Apple Music, Spotify and others.
Anne-Sophie Mutter & Friends Thursday 26 March 2020 | 7.30pm Southbank Centre’s Queen Elizabeth Hall Please note venue
Beethoven String Trio No. 5 Jörg Widmann Study on Beethoven (UK premiere)* Beethoven String Quartet No. 10 (Harp) * Commissioned by Anne-Sophie Mutter
Anne-Sophie Mutter violin Pieter Schoeman violin | Richard Waters viola | Kristina Blaumane cello
Tickets £15–£45 Book now at lpo.org.uk or call 020 7840 4242. Part of Southbank Centre’s International Chamber Music Series. All proceeds from this concert will be donated to Crisis, the national charity for homeless people.
WAGNER’s Ring Cycle with Vladimir Jurowski | January–February 2021 Join us as we reach the end of a remarkable three-year journey with two star-studded semi-staged complete Ring Cycles at Southbank Centre’s Royal Festival Hall.
On sale now For full dates, cast and booking details, visit lpo.org.uk/ringcycle or call the LPO Ticket Office on 020 7840 4242.
London Philharmonic Orchestra | 15
Now on sale: 2020/21 season
at Southbank Centre’s Royal Festival Hall 2020 Vision continues
Exploring the defining sounds of the 21st century alongside music written exactly 100 and 200 years earlier. The series culminates with the world premiere of James MacMillan’s Christmas Oratorio
Ring Cycle 2021
Vladimir Jurowski conducts two star-studded, semi-staged Ring Cycles featuring Allan Clayton, Ruxandra Donose, Burkhard Fritz, Lise Lindstrom, Kai Rüütel and more
Celebrated artists
Including Karina Canellakis, Ray Chen, Gerald Finley, Edward Gardner, Stephen Hough, Steven Isserlis, Anoushka Shankar & Bryn Terfel
lpo.org.uk 16 | London Philharmonic Orchestra
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 Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir 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 The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar
Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited 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 Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous
London Philharmonic Orchestra | 17
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 Anonymous donors Mrs Aline Foriel-Destezet Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Mrs Christina Lang Assael Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Associates An anonymous donor Steven M. Berzin Kay Bryan William & Alex de Winton Hamish & Sophie Forsyth Irina Gofman and Mr Rodrik V. G. Cave Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons An anonymous donor David & Yi Buckley In memory of Allner Mavis Channing The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Geoff & Meg Mann Francis & Marie-France Minkoff Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt
Silver Patrons Remembering Terri Borain Andrea d’Avack Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Rehmet Kassim-Lakha de Morixe John & Angela Kessler Jamie & Julia Korner The Metherell Family Denis & Yulia Nagy Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Andrew & Rosemary Tusa Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Mr Mark Astaire Margot Astrachan Mr Geoffrey Bateman Mrs A Beare Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil The Earl & Countess of Chichester Mr Michael Cole-Fontayn Mr John H Cook Howard & Veronika Covington Mrs Maria Danilova Guy Davies Bruno De Kegel Cameron & Kathryn Doley Jill Dyal David Ellen Ignor & Lyuba Galkin Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Eugene & Allison Hayes Ms Elena Heinz Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home Rose & Dudley Leigh
18 | London Philharmonic Orchestra
Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Linda & Tim O’Neill Jacopo Pessina Mr Alex Petrov Mr Roger Phillimore Mr Michael Posen Mr Alex Smedley Ms Nadia Stasyuk Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Ms Jenny Watson CBE Christopher Williams Mr Anthony Yolland Principal Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Dr Manon Antoniazzi Helen Brocklebank Mr Philip Bathard-Smith Ms Phyllia Chen Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett In honour of Bea Crumbine Mr Jonathan Davies Mr Richard Fernyhough Mr Michael Fox Mr Stephen Goldring Mr Milton Grundy Mr Ian Haslegrave Michael & Christine Henry Lady Hill Mrs Maureen Hooft-Graafland Jamilya Jakisheva Per Jonsson Vadim Levin Lady Leonora, Countess of Lichfield Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Michael & Patricia MclarenTurner
Alice P. Melly Mr John Meloy Andrew T Mills Dr Karen Morton Maxim & Natalia Moskalev Mrs Jannifer Oxley Mr James Pickford Natalie Pray Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Barry & Gillian Smith Mr Bill Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Matthew Stephenson & Roman Aristarkhov Marina Vaizey Howard & Sheelagh Watson Supporters Anonymous donors Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Mr David Devons Mr Anthony Diamond Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Scott & Icy Frantz Christopher Fraser OBE Will Gold Mr Peter Gray The Jackman Family Mr & Mrs Bon Jasperson Mr David MacFarlane Peter & Isabel Malkin Mr Frederic Marguerre Mr Mark Mishon Trevor Mulineaux Dame Jane Newell DBE Bill & Jane Nickerson Mr Stephen Olton Anju & Radhika Patel
Mr David Peters Candace Procaccini Mr & Mrs Graham & Jean Pugh Mr David Russell Deb & Jay Shaw Ms Elizabeth Shaw Mr Kenneth Shaw Ms Natalie Spraggon & Mr David Thomson Mrs John E Stauffer Ronald & Davidde Strackbein Mr John Weekes 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) Veronika Borovik-Khilchevskaya (Cyprus) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (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)
Thomas Beecham Group Members David & Yi Buckley The Candide Trust The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport William & Alex de Winton Donors to the 2019 Gala Player Appeal Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Natasha Tsukanova Neil Westreich Guy & Utti Whittaker 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 Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP
Connecticut Gala Committee Bea Crumbine & Jill Dyal Co-Chairmen Rodica Brune Mandy DeFilippo Rachel Franco Nick Gutfreund Mary Hull Steve Magnuson Natalie Pray Victoria Robey OBE Lisa & Scot Weicker Corporate Donors AT&T Barclays L Catterton Paul Hastings LLP Payne Hicks Beach Pictet Bank White & Case LLP LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners After Digital Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic 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 Chalk Cliff Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation The London Community Foundation Lord & Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute PRS For Music Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The Steel Charitable Trust Spears-Stutz Charitable Trust The Thomas Deane Trust The Viney Family The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.
London Philharmonic Orchestra | 19
Administration
Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Susanne Martens* Stewart McIlwham* Pei-Jee Ng* Andrew Tusa Timothy Walker CBE AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Helen Brocklebank 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 Marianna Hay Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Jamie Njoku-Goodwin 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 CBE AM Laurence Watt Elizabeth Winter
General Administration Timothy Walker CBE AM Chief Executive and Artistic Director
Education and Community Isabella Kernot Education and Community Director
David Burke Chief Executive Designate
Talia Lash Education and Community Manager
Finance Frances Slack Finance and Operations Manager
Emily Moss Education and Community Project Manager
Dayse Guilherme Finance Officer
Hannah Tripp Education and Community Project Co-ordinator
Concert Management Roanna Gibson Concerts Director Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager
Development Laura Willis Development Director Vicky Moran Development Events Manager Christina McNeill Corporate Relations Manager
Grace Ko Tours Manager
Rosie Morden Individual Giving Manager
Alison Jones Concerts and Recordings Co-ordinator
Anna Quillin Trusts and Foundations Manager
Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant
Izzy Keig Development Assistant Lewis Hammond Development Assistant
Andrew Chenery Orchestra Personnel Manager
~ Nick Jackman Campaigns and Projects Director
Sarah Holmes Librarian
Kirstin Peltonen Development Associate
Sarah Thomas Librarian Laura Kitson Stage Manager Stephen O’Flaherty Stage Manager Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator
20 | London Philharmonic Orchestra
Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager Alexandra Lloyd Projects and Residencies Marketing Manager Megan Macarte Box Office Manager (Tel: 020 7840 4242) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Georgie Gulliver Marketing Assistant
Public Relations Premier classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335 Archives Philip Stuart Discographer Gillian Pole Recordings Archive Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045. Composer photographs courtesy of the Royal College of Music, London. Cover artwork Design: Ross Shaw @JMG Studio Illustration: Brett Ryder/Heart Agency Printer Cantate
