London Philharmonic Orchestra programme Eastbourne 12 Jan 2014 by London Philharmonic Orchestra

Congress Theatre, Eastbourne 2013/14 season Concert programme

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

Congress Theatre, Eastbourne Sunday 12 January 2014 | 3.00pm

Verdi Ballet Music (Ballabili) from Macbeth (10’) Dvořák Violin Concerto in A minor (31’) Interval Tchaikovsky Symphony No. 1 in G minor (Winter Daydreams) (43’)

Programme £2.50 Contents 2 Welcome Next LPO concerts 3 About the Orchestra 4 On stage today 5 Damian Iorio 6 Philippe Quint 7 Programme notes 10 Tchaikovsky on the LPO Label 2013/14 Eastbourne Appeal 11 Supporters 12 LPO administration The timings shown are not precise and are given only as a guide.

Damian Iorio conductor Philippe Quint violin

Box Office: 01323 412000 eastbournetheatres.co.uk * supported by the Tsukanov Family Foundation and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL

Welcome

Welcome to the Congress Theatre, Eastbourne Artistic Director Chris Jordan | General Manager Gavin Davis

Welcome to this afternoon’s performance by the London Philharmonic Orchestra. We hope you enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones and watch alarms are switched off during the performance. Thank you. We are delighted and proud to have the London Philharmonic Orchestra reside at the Congress Theatre for the 17th year. Thank you, our audience, for continuing to support the concert series. Without you, these concerts would not be possible. We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email theatres@eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

Next London Philharmonic Orchestra concerts at the Congress Theatre Pick up a copy of the season brochure this evening, call us on 020 7840 4242 to request a copy, or browse online at lpo.org.uk/eastbourne Sunday 23 February 2014 | 3.00pm

Sunday 27 April 2014 | 3.00pm

Berlioz Overture, Le Corsaire Rachmaninoff Rhapsody on a Theme of Paganini Brahms Symphony No. 2

Berlioz Roman Carnival Overture Saint-Saëns Violin Concerto No. 3 Ravel Le tombeau de Couperin Beethoven Symphony No. 6 (Pastoral)

Vasily Petrenko conductor Kirill Gerstein piano

Timothy Redmond conductor Matthew Trusler violin

Vasily Petrenko and Kirill Gerstein Timothy Redmond and Matthew Trusler

Sunday 9 March 2014 | 3.00pm Dvořák Scherzo capriccioso Tchaikovsky Piano Concerto No. 1 Mahler Blumine Shostakovich Symphony No. 1 Ilyich Rivas conductor Simon Trpčeski piano

2 | London Philharmonic Orchestra

Tickets £12–£28 plus £1 per ticket booking fee (up to a maximum of £6)

Box Office 01323 412000 Book online at eastbournetheatres.co.uk

London Philharmonic Orchestra

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and since then its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the current Principal Conductor and Artistic Advisor, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor. Julian Anderson is the Orchestra’s current Composer in Residence.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 70 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 1 and Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Vaughan Williams’s Symphonies Nos. 5 & 7 with Bernard Haitink; Mahler’s Das Lied von der Erde with Yannick Nézet-Séguin, Sarah Connolly and Toby Spence; and a disc of new works by the Orchestra’s Composer in Residence, Julian Anderson. In summer 2012 the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics.

The Orchestra is resident at Southbank Centre’s The London Philharmonic Orchestra is committed to Royal Festival Hall in London, where it gives around inspiring the next generation through its BrightSparks 40 concerts each season. 2013/14 highlights include schools’ concerts and FUNharmonics family concerts; a Britten centenary celebration with Vladimir the Leverhulme Young Jurowski including the War Composers programme; Requiem and Peter Grimes; and the Foyle Future world premieres of James Firsts orchestral MacMillan’s Viola Concerto Bachtrack.com training programme and Górecki’s Fourth 2 October 2013, Royal Festival Hall: Britten centenary concert for outstanding young Symphony; French repertoire players. Over recent with Yannick Nézet-Séguin; years, digital advances and social media have enabled and a stellar array of soloists including Evelyn Glennie, the Orchestra to reach even more people across the Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, globe: all its recordings are available to download from Renaud Capuçon, Leonidas Kavakos, Julia Fischer, iTunes and, as well as a YouTube channel and regular Emanuel Ax and Simon Trpčeski. Throughout 2013 podcast series, the Orchestra has a lively presence on the Orchestra collaborated with Southbank Centre on Facebook and Twitter. the year-long festival The Rest Is Noise, exploring the influential works of the 20th century. Find out more and get involved! The London Philharmonic Orchestra enjoys flourishing residencies in Brighton and Eastbourne, and performs lpo.org.uk regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival facebook.com/londonphilharmonicorchestra Opera, where it has been Resident Symphony Orchestra for 50 years. The Orchestra also tours internationally, twitter.com/LPOrchestra performing concerts to sell-out audiences worldwide. Highlights of the 2013/14 season include visits to the USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain.

The LPO are an orchestra on fire at the moment.

London Philharmonic Orchestra | 3

On stage today

First Violins Janice Graham Guest Leader Ilyoung Chae Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

Martin Hรถhmann Yang Zhang Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Galina Tanney Maeve Jenkinson Catherine van de Geest Kokila Gillett Francesca Smith Second Violins Rebecca Chan Guest Principal Joseph Maher Nancy Elan Ashley Stevens Sioni Williams Elizabeth Baldey John Dickinson Stephen Dinwoodie Steve Rowlinson Anna Croad

Violas Robert Duncan Principal Gregory Aronovich Katharine Leek Benedetto Pollani Alistair Scahill Isabel Pereira Sarah Malcolm Martin Fenn Cellos Caroline Dale Guest Principal Elisabeth Wiklander Gregory Walmsley David Lale Sue Sutherley Susanna Riddell Double Basses George Peniston Principal Helen Rowlands Tom Walley Sebastian Pennar Flutes Harry Winstanley Guest Principal Clare Robson

Oboes Helen Barker Guest Principal Sarah Harper

Trombones David Whitehouse Principal Andrew Connington

Clarinets Robert Hill* Principal Katie Ayling

Bass Trombone Barry Clements

Bass Clarinet Katie Ayling Bassoons Simon Estell Principal Stuart Russell Horns John Ryan* Principal David Pyatt* Principal Chair supported by Simon Robey

Tom Kane Mark Vines Co-Principal Gareth Mollison

Tuba / Cimbasso Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar

* Holds a professorial appointment in London

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

Piccolo Katie Bicknell

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: William and Alex de Winton David & Victoria Graham Fuller John & Angela Kessler The Sharp Family Julian & Gill Simmonds

4 | London Philharmonic Orchestra

Damian Iorio

conductor

Damian Iorio conducts orchestras including the Detroit Symphony, BBC Symphony, BBC Philharmonic, Netherlands Radio Philharmonic, St Petersburg Philharmonic, Estonian National Symphony and Iceland Symphony orchestras, and the Orchestra Sinfonica di Milano Giuseppe Verdi, Orchestre National de Belgique, Orchestra Sinfonica Nazionale della RAI, Orchestre de Chambre de Lausanne and Orquestra Sinfónica do Porto Casa da Música. His recent debuts with the Detroit Symphony Orchestra, Orchestre National de Belgique, Orchestra della Svizzera Italiana in Lugano and Moscow’s Tchaikovsky Symphony Orchestra saw re-invitations to each, and last season’s debuts with the Netherlands Symphony Orchestra, Orquesta Sinfónica de Castilla y León and Noord Nederlands Orkest also brought re-invitations. This season Damian returns to the Orchestra Sinfonica di Milano Giuseppe Verdi, amongst many other engagements.

appeared at Bonn Opera with Puccini’s Turandot, and has conducted for Norwegian Opera several times as well as at many Italian opera houses including Como, Teatro Regio di Torino, Brescia and Trento. In St Petersburg he has conducted Britten’s The Turn of the Screw and, in Moscow, the Russian premiere of Michael Nyman’s The Man Who Mistook His Wife for a Hat, which was nominated for Best Opera Production at the 2004 Golden Mask Festival. Damian Iorio was born in London to a family of Italian and English musicians. He is married with a young family and lives in Italy. In 2006 he received the Knight of the Order of Sant’Agata from the Republic of San Marino in recognition for his services to music there.

Damian Iorio studied violin in the UK and the USA before becoming a member of the Danish National Radio Symphony Orchestra. It was during his time in Copenhagen that he also studied conducting in St Petersburg before being appointed Artistic Director and Chief Conductor of the Philharmonic Orchestra of Murmansk, where he became the catalyst in the subsequent success and growth of the Orchestra in opera and concert. His wide range of repertoire centres on the late Romantic and early 20th-century periods, as well as back to the Classical period and forward to contemporary works. His Italian-Anglo family background and Nordic and Russian periods are also clear influences. Damian also enjoys working with youth orchestras across Europe, and is Music Director of The National Youth String Orchestra of Great Britain. Damian’s opera work has included productions of Verdi’s Macbeth at Glyndebourne Festival Opera and Smetana’s The Bartered Bride at the Opéra national de Paris. He made his USA debut at Central City Opera in Colorado with Britten’s The Rape of Lucretia, which was much admired by the international press. He has London Philharmonic Orchestra | 5

Philippe Quint

violin

Award-winning American violinist Philippe Quint is a multifaceted artist whose wide range of interests has led to several Grammy nominations, performances with major orchestras throughout the world at venues ranging from the Leipzig Gewandhaus to Carnegie Hall in New York, a leading role in a major independent film called Downtown Express, and explorations of tango with his band The Quint Quintet. In addition to his concerts with the London Philharmonic Orchestra, highlights of this season include performances with the Phoenix Symphony, San Antonio Symphony, Rochester Philharmonic and Jacksonville Symphony orchestras, as well as return performances and a new recording with the Bochum Symphony Orchestra in Germany. In November 2013 he released Opera Breve with pianist Lily Maisky, a unique collection of opera transcriptions for violin and piano featuring both popular and rare songs, on Avanticlassic. His recording of the Tchaikovsky Violin Concerto, paired with Anton Arensky’s String Quartet No. 2, will be released this spring. Constantly in demand worldwide, Quint’s most recent appearances include performances with the symphony orchestras of Chicago, Detroit, Indianapolis, New Jersey, Minnesota, Houston, Bournemouth and Bochum; the Weimar Staatskapelle, Royal Liverpool Philharmonic, China National, Orpheus, Berlin Komische Oper, MDR Leipzig Radio Symphony and Cape Town Philharmonic orchestras; and Plácido Domingo’s Youth Orchestra of the Americas. He has performed under the batons of Marin Alsop, Carl St. Clair, Daniel Hege, Andrew Litton, Kurt Masur, Jorge Mester, Marco Parisotto, Martin Panteleev, Carlos Miguel Prieto, Klauspeter Seibel, Christopher Seaman, Kenneth Schermerhorn, Steven Sloane, Michael Stern, Bramwell Tovey, Gregory Vajda and Martin Yates. Philippe Quint has given solo recitals and chamber music performances at the Mostly Mozart, Caramoor, Ravinia, Aspen, Lincoln Center and Chautauqua festivals, 6 | London Philharmonic Orchestra

Lukas Foss’s Hamptons Music Festival, Kravis Center, UC Davis Presents, Rome Chamber Festival, Moritzburg, El Paso, La Jolla SummerFest and at the National Gallery in Washington. In 2009 he formed The Quint Quintet, an ensemble dedicated to exploring the music of Astor Piazzolla and Argentine tango. Quint’s live performances and interviews have been broadcast on television and radio stations across the USA. His recordings have received multiple ‘Editor’s Choice’ selections in Gramophone, The Strad, Strings and the Telegraph. The Chicago Tribune proclaimed: ‘Here is a fiddle virtuoso whose many awards are fully justified by the brilliance of his playing.’ Among his many honours, Quint was the winner of the Juilliard Competition and Career Grant Recipient of Salon de Virtuosi, Bagby and Clarisse Kampel Foundations. His first album for Avanticlassic, a recording of the Mendelssohn and Bruch Violin Concertos and Beethoven’s Romances, with the Orquesta Sinfónica de Minería led by Carlos Miguel Prieto, was released in 2012. Gramophone described Quint’s performance as ‘pure sound and refined expression. An account well worth hearing.’ Philippe Quint studied at Moscow’s Special Music School for the Gifted with the Russian violinist Andrei Korsakov, and made his orchestral debut at the age of nine with Wieniawski’s Concerto No. 2. After emigrating to the USA, he earned both Bachelor’s and Master’s degrees from The Juilliard School. His distinguished teachers have included Dorothy Delay, Cho-Liang Lin, Masao Kawasaki and Felix Galimir. He also studied and participated in masterclasses with Isaac Stern, Itzhak Perlman and Arnold Steinhardt. Philippe Quint plays the magnificent 1708 ‘Ruby’ Antonio Stradivari violin, on loan to him through the generous efforts of The Stradivari Society.

Programme notes

Speedread Lively, flavoursome dance music plays a big part in the first half of this concert: in the brilliant witches’ dance sequence Verdi composed for the 1865 Paris production of his opera Macbeth, and in the scintillating folk-dance finale of Dvořák’s Violin Concerto. But the soul of Dvořák’s Concerto is more truly in its lyrical moments, especially in the glorious long melodies that lie at the heart of the

Giuseppe Verdi

first movement and spread throughout the central Adagio. There is plenty of soulful lyricism too in Tchaikovsky’s First Symphony, ‘Winter Daydreams’, and at its heart is a wonderfully atmospheric evocation of the composer’s Russian homeland, ‘Land of Desolation, Land of Mists’. Warm clothing recommended!

Ballet Music (Ballabili) from Macbeth 1 Ballo I 2 Ballo II 3 Ballo III (Walzer)

1813–1901

Verdi composed his operatic version of Shakespeare’s great tragedy Macbeth in 1846–47. This was a time when he was first beginning to make a name for himself internationally, after years of what he called musical ‘galley slavery’. Both musically and in its psychological characterisation, Verdi’s Macbeth marks a significant step forward: Lady Macbeth’s famous sleepwalking scene in particular shows a new depth of emotional insight and subtlety in the use of orchestral colour.

his handling of the orchestra and in his ability to build up excitement over long time-spans, and the result is a compelling, skilfully interwoven dance sequence which also works very effectively as a separate concert piece.

Verdi would probably have been happy to leave the opera as it was, but when it was staged in Paris in 1865, he was asked to make several substantial concessions to French taste. Parisian audiences particularly liked extended ballet scenes, so Verdi agreed to compose a set of dances (‘ballabili’ in Italian) to introduce the witches’ prophecy scene in Act Three, the scene in which – in deliberately riddling terms – the three ‘weird sisters’ foretell Macbeth’s death. The ballet accordingly depicts spirits, devils and witches dancing with wild abandon in honour of the goddess Hecate. Verdi had gained a lot in confidence by the mid-1860s, both in

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Programme notes continued

Antonín Dvořák 1841–1904

Antonín Dvořák’s great Cello Concerto (1894–95) is one of the most widely loved and admired string concertos in the concert repertoire. But its enduring success has tended to overshadow his other works in concerto form. In the case of the relatively early Piano Concerto (1876), that’s no great loss. Dvořák himself appears to have concluded that it was largely a failure, and few have disagreed with him. But the Violin Concerto of 1879–80 is another matter entirely. Full of catchy tunes and glorious long melodies, it has a warmly romantic atmosphere of its own. And although Dvořák doesn’t overdo the folk colouring, the finale in particular has an unmistakable and delicious Czech accent. Dvořák wrote his Violin Concerto for the Hungarian virtuoso Joseph Joachim, who apart from being one of the outstanding concert soloists of his age was also a fine composer and a folk music enthusiast. It was for Joachim that Dvořák’s friend and champion Johannes Brahms had written his great Violin Concerto in 1878. In the case of the Brahms Concerto, Joachim had made several helpful suggestions to the composer, not just about the violin writing, but also about orchestration and even some of the details of the composition, some (though not all) of which Brahms accepted. Dvořák duly sent off his own score to Joachim with a request that he run a critical eye over his efforts. Dvořák had to wait two years until Joachim sent back his recommendations – all of which he seems to have been happy to accept. Yet, strangely, Joachim never played Dvořák’s Violin Concerto – quite why we can only guess – and the premiere was eventually given in 1883 by the Czech violinist František Ondříček in Prague.

Violin Concerto in A minor, Op. 53 Philippe Quint violin 1 Allegro ma non troppo – 2 Adagio ma non troppo 3 Finale: Allegro giocoso ma non troppo

Perhaps the problem for Joachim, and for one or two more self-conscious star violinists today, is that the Dvořák is not an especially ‘showy’ concerto. It’s certainly difficult to play, but for listeners it tends to be the soulful or dancing melodic element that remains in the memory rather than any virtuoso fireworks. The first movement begins arrestingly, with a stern orchestral theme. But this movement is more songful than dramatic, and its true heart is the glorious long melody, introduced by the soloist supported by the oboe, that flows in seamlessly about halfway through the movement. There is no extended solo cadenza: just when it seems that the violin is setting off on an ear-catching monologue, woodwind join in and lead smoothly into the slow movement, which begins with another seductive long melody. This extended lyrical meditation eventually brings the Concerto to its first full close. Then the finale begins with a tribute to a Czech national dance, the ‘furiant’. The furiant’s most striking feature is its rhythm, which keeps veering between ONE-two-three TWO-two-three and ONE-two TWO-two THREE-two – the kind of rhythmic writing that literally keeps dancers (and violinists) on their toes. But for the listener at least this is joyous music, not least in its exciting close.

Interval – 20 minutes A bell will be rung 3, 2 and 1 minute before the end of the interval.

8 | London Philharmonic Orchestra

Pyotr Ilyich Tchaikovsky 1840–93

Tchaikovsky’s First Symphony is such an endearing, vital, seductively atmospheric work that one would imagine it must have been a joy to write. In fact the opposite is true: few, if any of his other works caused Tchaikovsky such protracted pain. He was 26 when he began it, having freshly graduated from the St Petersburg Conservatoire and walked straight into a job at the newly created Conservatoire in Moscow. At first things were looking encouraging. His first orchestral performance (an Overture in F major) had been a success, and his teacher, the pianist and composer Anton Rubinstein, had urged him to write a symphony. But then came a crushing review of another work, and Tchaikovsky’s confidence plummeted: ‘I spent the entire day wandering aimlessly about the town’, he told a friend, ‘repeating to myself “I am sterile, I am a nonentity, nothing will ever come of me, I have no talent”.’ He soldiered on with the new symphony, but his determination to keep working through the nights (inevitably resulting in insomnia) led to a frightening breakdown. In the end, work seems to have saved Tchaikovsky, and the Symphony was finished in piano score by the beginning of June 1867. But his troubles weren’t over yet. Rubinstein was highly critical of the completed score, and virtually ordered Tchaikovsky to revise it. Even that didn’t please, and only the Scherzo was performed – unsuccessfully. More alterations were made then, at last, in February 1868, the First Symphony had its first full performance in Moscow. This time it was a huge success; but Tchaikovsky’s self-doubt was not appeased, and it wasn’t until 1874 that he at last allowed the further-revised score to be published. Surprisingly, despite memories of this agonising slow birth, Tchaikovsky always maintained a special affection for his First Symphony. ‘For all its glaring deficiencies’,

Symphony No. 1 in G minor (Winter Daydreams) 1 2 3 4

‘Reveries of a Winter Journey’: Allegro tranquillo ‘Land of Desolation, Land of Mists’: Adagio cantabile ma non tanto Scherzo: Allegro scherzando giocoso Finale: Andante lugubre—Allegro maestoso

he wrote in 1883, ‘I have a soft spot for it. Although it is immature in many respects it is essentially better and richer in content than many other more mature works.’ As so often, he was being harsh: the First Symphony may have its faults, but they are hardly ‘glaring’, and most of the time the freshness of the material fully compensates. The opening theme (flute and bassoon above shimmering violins) is a lovely inspiration, with an unmistakable Slavic accent. From the first there is a strong sense of forward-gliding momentum, like the easy movement of a sleigh across smooth snow. Tchaikovsky’s sharp, clear orchestration registers impressions of cold very effectively, while from time to time warm string harmonies manage to convey a sense of cosiness and security – this traveller is clearly well wrapped up and enjoying his ‘winter daydreams’. The slow movement is still more effective. An eloquent theme for muted strings leads to a long oboe tune, with answering birdcalls on flute, unmistakably Russian in so many of its melodic twists and turns. The rest of the movement is essentially a meditation (daydreams again) on phrases from this tune, with occasional reminiscences of the flute’s birdsong, all done with much more skill and imagination than Tchaikovsky’s later judgement would have us believe. The return of the opening string theme at the end is also deftly timed. Next comes an agile, lightly dancing Scherzo, with wonderful use of woodwind colours (a very mature Tchaikovskian touch). Hesitant cellos and basses suggest for a moment that the central trio section might be darker-hued, but what actually emerges is a warm, suave waltz theme on violins and cellos. Then, after a sombre slow introduction, the Finale soon sets off at a more determined pace in the major key, with trombones, tuba, cymbals and bass drum adding their weight to the orchestra for the first time. The

London Philharmonic Orchestra | 9

Programme notes continued

exuberance can sound a little forced (a rare indication of Tchaikovsky’s state of mind at the time he wrote it?). But after all his labours, Tchaikovsky is surely entitled to a bit of over-the-top celebration. Programme notes © Stephen Johnson

Tchaikovsky on the LPO Label: CDs on sale today at the Congress Theatre kiosk

Symphonies Nos. 1 & 6

Symphonies Nos. 4 & 5

Manfred Symphony

Vladimir Jurowski conductor

£10.99 (2CDs) | LPO-0039

£10.99 (2CDs) | LPO-0064

£9.99 (1CD) | LPO-0009

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

London Philharmonic Orchestra 2013/14 Eastbourne Appeal With the London Philharmonic Orchestra’s 2013/14 season at Eastbourne underway with another year of superb programming and an extraordinary array of guest artists, it is with great anticipation that we welcome Ilyich Rivas to make his Eastbourne debut with the Orchestra on 9 March 2014. Ilyich is the focus of this year’s Eastbourne Appeal. Despite being only 20 years old he has already held the post of Assistant Conductor with the London Philharmonic Orchestra under the mentorship of our Principal Conductor, Vladimir Jurowski. In this capacity he has had the unique opportunity to immerse himself in the Orchestra’s work alongside one of today’s finest conductors. His appearance with the Orchestra at the Congress Theatre on Sunday 9 March is one that will mark an exciting milestone in this young man’s career and continue the Orchestra’s tradition of showcasing emerging young talent. Donations towards our Eastbourne Appeal help support exceptional young artists like Ilyich as well as securing our continued presence in Eastbourne for years to come. We are immensely grateful for the support Eastbourne patrons have shown over the years and as the 2013/14 season continues, we hope you will consider making a donation to the Orchestra. So far this season we have raised a total of £2,700 but with the aim of reaching £5,000 this year – more than ever before – we’re hoping our Eastbourne audiences will help us reach our goal. To donate please visit lpo.org.uk/eastbourneappeal or contact Sarah Fletcher: 020 7840 4225 / sarah.fletcher@lpo.org.uk

10 | London Philharmonic Orchestra

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 Anonymous William and Alex de Winton Simon Robey The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Manon Williams & John Antoniazzi Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook David Ellen

Commander Vincent Evans Mr Daniel Goldstein Don Kelly & Ann Wood Peter MacDonald Eggers Mr & Mrs David Malpas Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Anthony Yolland Benefactors Mrs A Beare Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry Malcolm Herring Ivan Hurry Mr Glenn Hurstfield Mr R K Jeha Per Jonsson

Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Dr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Andrew T Mills John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Martin and Cheryl Southgate Professor John Studd Mr Peter Tausig Mrs Kazue Turner Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members

Trusts and Foundations

Silver: AREVA UK British American Business Carter Ruck Thomas Eggar LLP

Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Embassy of Spain, Office for Cultural and Scientific Affairs The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust Marsh Christian Trust The Mayor of London’s Fund for Young Musicians

Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berenberg Bank Berkeley Law Charles Russell Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets

Adam Mickiewicz Institute The Peter Minet Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The Ann and Frederick O’Brien Charitable Trust Palazzetto Bru Zane – Centre de musique romantique française Polish Cultural Institute in London PRS for Music Foundation The R K Charitable Trust Serge Rachmaninoff Foundation Schroder Charity Trust The Samuel Sebba Charitable Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust The Steel Charitable Trust The John Thaw Foundation The Tillett Trust Sir Siegmund Warburg’s Voluntary Settlement Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous

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Administration

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

Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Chief Executive Timothy Walker AM Chief Executive and Artistic Director Finance David Burke General Manager and Finance Director David Greenslade Finance and IT Manager Concert Management Roanna Gibson Concerts Director Graham Wood Concerts and Recordings Manager Jenny Chadwick Tours Manager Tamzin Aitken Glyndebourne and UK Engagements Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter PA to the Chief Executive / Tours Co-ordinator Matthew Freeman Recordings Consultant Education and Community Alexandra Clarke Education and Community Project Manager Lucy Duffy Education and Community Project Manager Richard Mallett Education and Community Producer

12 | London Philharmonic Orchestra

Orchestra Personnel

Public Relations

Andrew Chenery Orchestra Personnel Manager

Albion Media (Tel: 020 3077 4930)

Sarah Holmes Sarah Thomas Librarians (job-share)