London Philharmonic Orchestra 13 Apr 2018 concert programme by London Philharmonic Orchestra

CONCERt programme

Changing Faces:

Stravinskyâ&#x20AC;&#x2122;s journey

february â&#x20AC;&#x201C; december 2018 royal festival hall

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

Southbank Centre’s Royal Festival Hall Friday 13 April 2018 | 7.30pm

Stravinsky Jeu de cartes (21’) Bryce Dessner Concerto for Two Pianos (world premiere)*(25’) Interval (20’) Rachmaninoff Symphony No. 3 in A minor, Op. 44† (56’)

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Kevin Lin 6 Changing Faces: Stravinsky’s Journey 8 John Storgårds 9 Katia & Marielle Labèque 10 Programme notes 12 Bryce Dessner: composer profile 13 Recommended recordings 14 Next concerts 15 2018/19 season: on sale now 17 Sound Futures donors 18 Supporters 20 LPO administration

John Storgårds conductor Katia Labèque piano Marielle Labèque piano * Commissioned by the London Philharmonic Orchestra, Borusan Culture Arts Centre, Dresdner Philharmonie, Orchestre de Paris & Orquestra Nacionales de España. Concert generously supported by

† In co-operation with the Serge Rachmaninoff Foundation.

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Join John Storgårds as he explores Stravinsky’s Jeu de cartes, answers your questions and reveals where Stravinsky sits in his top five picks.

Welcome

Orchestra news

LPO Junior Artists Open Event – Friday 27 April 2018

Welcome to Southbank Centre

LPO Junior Artists is an orchestral experience programme for talented young musicians aged 15–19 from communities and backgrounds currently underrepresented in professional UK orchestras. If you or someone you know might be interested in applying for the 2018/19 programme, we invite you to join us on Friday 27 April from 5–7pm at a special event to meet LPO musicians, find out more about the programme and hear the current LPO Junior Artists in a performance at Royal Festival Hall – students, parents and teachers are all welcome! Find out more about the programme at lpo.org.uk/juniorartists, and if you would like to attend the open event please email juniorartists@lpo.org.uk Everyone is welcome to attend the free pre-concert performance by the current LPO Junior Artists at 6.00pm on Friday 27 April at Royal Festival Hall.

We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Honest Burger, Côte Brasserie, Skylon and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 3879 9555, or email customer@southbankcentre.co.uk

Vladimir Jurowski: Royal Philharmonic Society Award nomination

We look forward to seeing you again soon.

PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

A few points to note for your comfort and enjoyment:

We’re delighted that LPO Principal Conductor and Artistic Advisor, Vladimir Jurowski, has been shortlisted in the Conductor category for the Royal Philharmonic Society Music Awards. The annual Awards are the highest recognition for classical music-making in the United Kingdom and reflect the RPS’s guiding principles of excellence, creativity, understanding and inclusivity. This year’s winners will be announced at the RPS Music Awards Presentation Dinner on Wednesday 9 May. Read more about the Awards and the full list of nominations at rpsmusicawards.com

New on the LPO Label: Petrushka and The Firebird Out now The Spring/Summer 2018 edition of Tune In, our free twice-yearly magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic

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This month’s CD release on our LPO Label is a disc of Stravinsky’s exuberant ballets Petrushka and The Firebird conducted by Klaus Tennstedt, recorded live in concert at Royal Festival Hall in 1992 (LPO-0105). The CD is priced at £9.99 and, along with 100+ other titles on the label, is available to buy from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Our recordings are also available to download or stream via iTunes, Amazon, Spotify and others.

On stage tonight

First Violins Kevin Lin Leader Vesselin Gellev Sub-Leader Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Rebecca Shorrock Amanda Smith Evin Blomberg Katherine Waller Rasa Zukauskaite Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Robin Wilson Sioni Williams Harry Kerr Kate Cole Kalliopi Mitropoulou Judith Choi-Castro Jamie Hutchinson

Violas Rachel Roberts Guest Principal Robert Duncan Katharine Leek Benedetto Pollani Laura Vallejo Naomi Holt Isabel Pereira Stanislav Popov Martin Fenn Martin Wray Richard Cookson Daniel Cornford

Flutes Juliette Bausor Principal Hannah Grayson Stewart McIlwham*

Cellos Morwenna Del Mar Guest Principal Francis Bucknall David Lale Gregory Walmsley Elisabeth Wiklander Susanna Riddell Helen Rathbone Iain Ward George Hoult Jane Lindsay

Chair supported by Dr Barry Grimaldi

Double Basses Sebastian Pennar Principal Hugh Kluger George Peniston Laurence Lovelle Thomas Walley Lowri Morgan Damián Rubido González Charlotte Kerbegian

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

Piccolo Stewart McIlwham* Principal

Trombones David Whitehouse Principal Charlotte Van Passen

Oboes Ian Hardwick* Principal Alice Munday

Bass Trombone Lyndon Meredith Principal

Cor Anglais Sue Böhling* Principal

Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal

Clarinets Robert Plane Guest Principal Thomas Watmough

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal

Bass Clarinet Paul Richards* Principal

Chair supported by Friends of the Orchestra

Bassoons Jonathan Davies Principal Gareth Newman Simon Estell* Contrabassoon Simon Estell* Principal Horns Mark Vines Principal Martin Hobbs Elise Campbell Gareth Mollison Michael Gibbs

Keith Millar Feargus Brennan Barnaby Archer Harp Rachel Masters Principal Celeste Catherine Edwards * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust • William & Alex de Winton • Sir Simon Robey • Victoria Robey OBE • Bianca & Stuart Roden Eric Tomsett • Laurence Watt • Neil Westreich

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London Philharmonic Orchestra

The LPO musicians really surpassed themselves in playing of élan, subtlety and virtuosity. Matthew Rye, Bachtrack, 24 September 2017 (Enescu’s Oedipe at Royal Festival Hall) Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. Celebrating its 85th anniversary this season, 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 this season we celebrate the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Our year-long Belief and Beyond Belief festival in partnership with Southbank Centre

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ran throughout 2017, exploring what it means to be human in the 21st century. In 2018, we explore the life and music of Stravinsky in our series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. 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: tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France, and plans for 2018/19 include a major tour of China and Asia, as well as Belgium, France, Germany, The Netherlands, Spain, Switzerland and the USA.

Kevin Lin leader

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 Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski, Mozart and Rachmaninoff piano concertos performed by Aldo Ciccolini under Yannick Nézet-Séguin, and Shostakovich’s Symphony No. 7 under Kurt Masur. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. In 2017/18 we celebrate 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 Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, Kevin 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. An avid chamber musician, Kevin has collaborated with the Tokyo and Ebène quartets, Edgar Meyer, MengChieh Liu, John Perry, Hal Robinson of The Philadelphia Orchestra and Andrew Bain of the Los Angeles Philharmonic. In recent years he has received prizes from the Irving M. Klein International Competition and the Schmidbauer International Competition, and competed in the George Enescu International Violin Competition and the Menuhin International Violin Competition. Kevin spent his early years studying with Patinka Kopec in New York, before going on to study with Robert Lipsett at The Colburn School in Los Angeles, where he received his Bachelor of Music degree. He then continued his studies at The Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.

youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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Changing Faces: Stravinsky’s journey

Richard Bratby introduces our festival, which runs throughout 2018 On 24 November 1944, a new musical called Seven Lively Arts opened at the Forrest Theatre, Philadelphia. The composer was Cole Porter, the producer was Billy Rose, and their aim was to make entertainment out of the greatest talents in contemporary art. Benny Goodman and Dolores Gray starred; Salvador Dali created artwork for the foyer. And right in the middle – setting the stamp of greatness on the show’s highbrow aspirations – was a new ballet by Igor Stravinsky. Rose had offered Stravinsky $5000 (the equivalent of over half a million today) for 15 minutes of music. But even so, he felt something wasn’t quite right. Luckily he had the top Broadway arranger Robert Russell Bennett on call. After the first night, he telegraphed Stravinsky: YOUR MUSIC GREAT SUCCESS. COULD BE SENSATIONAL SUCCESS IF YOU WOULD AUTHORISE ROBERT RUSSELL BENNETT RETOUCH ORCHESTRATION. Without missing a beat, Stravinsky telegraphed straight back: SATISFIED WITH GREAT SUCCESS. It’s a great story: and like the best Stravinsky stories, it’s also true. This is where Stravinsky was in the middle of the 20th century – a celebrity, a wit; a man who moved with total assurance between the biggest names in contemporary culture. You didn’t have to know anything about classical music to know that Stravinsky was the world’s greatest living composer: that his Russian name and long, angular face stood for the most modern kind of genius. ‘I’ve interviewed the great Stravinsky’, sang the heroine of Rodgers and Hart’s Pal Joey in 1940, and the orchestra responded with a dissonant shriek. A month earlier, Walt Disney had released Fantasia, in which cartoon dinosaurs cavorted to Stravinsky’s most notorious hit, The Rite of Spring. It played to millions. Why wouldn’t an ambitious Broadway producer want to get Stravinsky on board? And why wouldn’t a major orchestra want to celebrate his music? On one level, the question is redundant. Stravinsky’s great scores for the Ballets Russes – The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913) – are as central to modern concert life as Beethoven or Mahler. But as contemporaries sensed, there was more to Stravinsky than an explosion of innovation and colour just before the Great War. How did 6 | London Philharmonic Orchestra

Igor Stravinsky’s star on the Hollywood Walk of Fame. He was inducted in 1960 for his work in radio. a singer’s son from the Russia of Tsar Alexander III end up as the toast of jazz-age Paris? How did a highbrow European modernist find himself courted by Hollywood’s top studio bosses? And how did the most famous classical composer on earth suddenly – in the last two decades of his career – become more controversial than he’d ever been? From his birth into a Russia that had been unchanged for millennia, to his funeral in Venice in 1971, watched by the world’s TV cameras, Stravinsky’s changing faces reflected more than just music. Stravinsky’s journey is the story of Western culture in the 20th century. So if it sounds like the LPO has been here before – well, in a sense it has. ‘For me, this Stravinsky journey is the second edition of The Rest Is Noise’, says Vladimir Jurowski, referring to the year-long exploration of 20th-century music and art through which he led the Orchestra in 2013. Changing Faces: Stravinsky’s Journey revisits that story and refines the focus. ‘In The Rest Is Noise we couldn’t concentrate upon any one composer’, Jurowski explains. ‘But here we’ve chosen to go through the years with one particular composer who reflected an entire century. Sometimes it’s chronological; sometimes it’s stylistic. His works are accompanied by the works of the people who he knew personally, who surrounded him, who preceded or succeeded him.’ That’s a vital point. Stravinsky had a gift for putting himself wherever the cultural action was: whether in

music, visual art, literature, cinema, politics or even fashion. In the first years of the century, there was no artistic force more thrilling than Serge Diaghilev’s Ballets Russes. But Stravinsky went on to party with Cole Porter in Venice, to sleep with Coco Chanel in Paris, and on one famous occasion in May 1922, to have dinner with James Joyce, Marcel Proust and Pablo Picasso. (It didn’t go well: Joyce fell asleep on the table and Proust got on Stravinsky’s nerves). Mussolini courted him – happily with little success. After he moved to the USA in 1939 he socialised with Fred Astaire, Alfred Hitchcock, Greta Garbo and Man Ray, while fellow exiles ranging from Rachmaninoff to Gone With the Wind composer Max Steiner ate pirozhki and drank champagne at Stravinsky’s Hollywood home. His creative partnerships embraced Benny Goodman, George Balanchine, Jean Cocteau, WH Auden, TS Eliot and Modoc – a dancing elephant in Barnum & Bailey’s circus. So Changing Faces: Stravinsky’s Journey places his music in context alongside music that Stravinsky influenced and (perhaps less obviously) that influenced him. ‘We’re trying to follow Stravinsky’s life, and with him, to follow the development of music in the 20th century – because effectively he went through almost every style change’, says Jurowski. So the journey begins not with the three great Diaghilev ballets (though they certainly feature) but in the sumptuous world of Imperial Russia’s so-called ‘Silver Age’, placing Stravinsky’s youthful music next to that of his teacher Rimsky-Korsakov and the fairytale music of Anatoly Liadov who, by fumbling his commission for The Firebird, accidentally gave Stravinsky the biggest break of his career. There’s also a chance to hear the music of Alexander Glazunov – who Stravinsky later derided, but whose influence can be heard in every note of the 24-year-old Igor’s delightful Symphony in E flat. And the journey continues, through revolutions both artistic and political. In the wake of the First World War, Stravinsky led the way in creating something bold, new, and yet strangely familiar from the wreckage of a civilisation. ‘His style kept evolving and changing’, says Jurowski. ‘At first it was Italian baroque music that interested him, but later Bach – and again, later there were all sorts of other things.’ ‘Neo-classicism’, it’s been called, but no label can fully cover the wit of Stravinsky’s reinvention of Pergolesi in Pulcinella, his playful not-quite-mockery of German romantics like Weber and Schubert, and the timeless clarity of the classical

language he created on his own terms in works like Apollon musagète and the Symphony in C. ‘He used to call himself an inventor of music rather than a composer, and I don’t think he was deluding himself’, says Jurowski. ‘What I find fascinating is that whatever style he explores, he always makes it sound as if he alone, Igor Stravinsky, has invented this style. He has this chameleon-like ability – and at the same time this incredibly strong individual voice.’ That ability to make the musical world turn around him would stand Stravinsky in good stead in the later years of his career, and as well as his 1951 opera The Rake’s Progress, later LPO concerts in 2018 will examine his decision (as seismic in its time as Bob Dylan going electric) to embrace the 12-tone system. It’s one reason why contemporary composers find him so compelling: the series features Stravinsky-influenced premieres by Gerald Barry and Anders Hillborg, while Thomas Adès conducts Perséphone. But there are also glimpses of the sometimes unpredictable man behind the mask of genius. His love for Tchaikovsky and the lost Russia he embodied; his fondness for poker (translated into the brilliantly deadpan ballet Jeu de cartes), and his profound religious faith, expressed in the Symphony of Psalms – ‘composed for the glory of God’. His biographer Robert Craft – a prim progressive – was ‘astonished’ by the respect that Stravinsky showed to exiled Russian royalty. But Stravinsky never followed the modernist script. He wrote it. And that force of personality – that electrifying creativity – overflowed into everything he touched. Vladimir Jurowski remembers handling the manuscript of The Rite of Spring in the Paul Sacher Archive in Basel. ‘What struck me was the incredible artistic quality of the score, as draughtsmanship. If you look at it not as a musician but simply the way you would look at a piece of art, it looks like an incredible cubist or Futurist design.’ Genius will out, and Stravinsky himself gives the best rationale for following his journey from beginning to end, in a world whose face is changing faster than ever. ‘I live neither in the past nor the future. I am in the present. I can know only what the truth is for me today. That is what I am called upon to serve, and I serve it in all lucidity.’ Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. lpo.org.uk/stravinsky

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John Storgårds conductor

With Storgårds, instinct and refinement become one, which is a rare gift indeed.

The Telegraph, 21 July 2015

Chief Guest Conductor of the BBC Philharmonic Orchestra, Principal Guest Conductor of Canada’s National Arts Centre Orchestra Ottawa and Artistic Partner of the Munich Chamber Orchestra, John Storgårds enjoys a dual career as a conductor and violin virtuoso, and is widely recognised for his creative flair for programming. He additionally holds the title of Artistic Director of the Chamber Orchestra of Lapland. John Storgårds appears with such orchestras as the WDR Sinfonieorchester Köln, Bamberger Symphoniker, Gewandhausorchester Leipzig, RundfunkSinfonieorchester Berlin, Orchestre Philharmonique de Radio France, Orchestre national de France, Orchestra Sinfonica Nazionale della RAI and BBC Symphony Orchestra, as well as all the major Nordic orchestras including the Helsinki Philharmonic Orchestra, where he was Chief Conductor from 2008–15. Further afield, he appears with the Sydney, Melbourne and NHK symphony orchestras, as well as the Boston, St Louis, Toronto and Vancouver symphony orchestras, The Cleveland Orchestra and the New York Philharmonic. John Storgårds’s vast repertoire includes the complete symphonies by Sibelius, Nielsen, Bruckner, Brahms, Beethoven, Schubert and Schumann. He gave a historical cycle of all 54 symphonies by Mozart (including the unnumbered works) and conducted the Finnish premieres of Schumann’s only opera Genoveva and his early ‘Zwickau’ symphony, as well as the world premieres of Sibelius’s Suite Op. 117 for violin and strings and the Late Fragments. He regularly conducts world premieres of works by contemporary composers such as Kaija Saariaho, Brett Dean, Per Nørgård and Pēteris Vasks, and many composers have dedicated their works to him.

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Storgårds conducted the Finnish premiere of Haydn’s Orlando Paladino at the Finnish National Opera, and recently he led a new production by Paul-Émile Fourny of Mozart’s Don Giovanni at the Savonlinna Opera Festival. Tonight is John’s debut with the London Philharmonic Orchestra, and will be followed by a second concert with the Orchestra at Brighton Dome tomorrow evening. Other highlights this season include a return to the BBC Proms with the BBC Philharmonic, and debuts with the Chicago Symphony and Vienna Radio Symphony orchestras. In autumn 2017 Storgårds conducted the world premiere of Sebastian Fagerlund’s opera Höstsonaten – Autumn Sonata at the Finnish National Opera. John Storgårds’s award-winning discography includes works by Schumann, Mozart, Beethoven and Haydn, and rarities by Vagn Holmboe and Pēteris Vasks featuring him as soloist. Two cycles of symphonies by Sibelius (2014) and Nielsen (2015) with the BBC Philharmonic were released to critical acclaim by Chandos. Their latest recording, released in 2017, includes works by American avant-garde composer George Antheil. Other successes include discs of works by Nørgård, Korngold and Rautavaara, the latter receiving a Grammy nomination and a Gramophone Award. Storgårds’s recording with the Chamber Orchestra of Lapland of Kalevi Aho’s concertos for theremin and horn received the ECHO Klassik award in 2015. Storgårds studied violin with Chaim Taub and subsequently became leader of the Swedish Radio Symphony Orchestra under Esa-Pekka Salonen, before studying conducting with Jorma Panula and Eri Klas.

Katia & Marielle Labeque pianos

The best piano duo in front of an audience today.

The New York Times

Katia and Marielle Labèque are sibling pianists renowned for their synchronicity and energy. Their musical ambitions started at an early age and they rose to international fame in the early 1980s with their contemporary rendition of Gershwin’s Rhapsody in Blue. They have since developed a stunning career, performing worldwide with the world’s most prestigious orchestras and artists. Katia and Marielle have had the privilege of working with many composers including Thomas Adès, Louis Andriessen, Luciano Berio, Pierre Boulez, Philip Glass, Osvaldo Golijov, György Ligeti and Olivier Messiaen. In May 2015 they gave the world premiere of Philip Glass’s new concerto (written for them), with the Los Angeles Philharmonic Orchestra under the direction of Gustavo Dudamel. Tonight’s new concerto by Bryce Dessner was written specially for the duo, and Nico Muhly is currently composing a concerto for them which they will premiere next year. The Labèques appear at renowned venues and festivals worldwide including the Vienna Musikverein, Hamburg Musikhalle, Munich Philharmonie, New York’s Carnegie Hall, Southbank Centre’s Royal Festival Hall, La Scala Milan, the Berlin Philharmonie, the Hollywood Bowl, the BBC Proms, and the Blossom, Lucerne, Ravinia, Tanglewood and Salzburg festivals. In 2005 an audience of more than 33,000 attended a gala concert with the Berlin Philharmonic conducted by Sir Simon Rattle at Berlin’s Waldbühne, now available on DVD (EuroArts). In 2014 the duo released the CD Sisters on their own label, KML Recordings. In 2016 KML Recordings joined the historical label Deutsche Grammophon. Their first release under the DG label was a disc of Stravinsky’s

Rite of Spring and Debussy’s Épigraphes Antiques in November 2016, and their album Moondog Minimalist Dream House was released earlier this year. In spring 2017 the DVD The Labèque Way: A Letter to Katia and Marielle by Alessandro Baricco, produced by El Deseo (Pedro and Augustin Almodóvar) and filmed by Félix Cábez, was released in collaboration with EuroArts. In 2005 Katia and Marielle Labèque launched the KML Foundation, aimed at furthering research and developing awareness of the duo piano repertoire through meetings between artists of all fields. One of the Foundation’s latest projects is a concert based around American composer Moondog’s music, in collaboration with Kings Place in London. In 2016 a record audience of more then 100,000 attended the Vienna Summer Night Concert in Schönbrunn, at which the Labèques performed. More than 1.5 million viewers worldwide watched the event on television and it was subsequently released on CD and DVD by Sony. Next season includes performances with the New York Philharmonic under Jaap van Zweden, at the Vienna Konzerthaus with Camerata Salzburg, at the Elbphilharmonie Hamburg with Bryce Dessner’s El Chan, a European tour with the Concertgebouw Orchestra under Semyon Bychkov, and the Easter Festival Salzburg with the Dresden Staatskapelle. The duo will also appear with the Chicago Symphony, Los Angeles Philharmonic and San Francisco Symphony orchestras, among others.

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Programme notes

Speedread The centrepiece of tonight’s concert is the world premiere of a new work by the American musician Bryce Dessner. Dessner is an unusual figure even in these days of ‘crossover’ in that he combines playing guitar in the indie rock group The National with composing concert music. Born in Cincinnati and educated at Yale University, he has written works for, among others, the Kronos Quartet, the Los Angeles Philharmonic, the New York Philharmonic and the New York City Ballet. His Concerto for Two Pianos was composed last year in response to a joint commission from the London Philharmonic Orchestra, the Dresdner Philharmonie, the Orchestre de Paris, the Orquesta Nacional de España, and the Borusan Cultural Arts Centre and the Borusan Istanbul

Igor Stravinsky 1882–1971

Stravinsky’s Jeu de cartes, or ‘The Card Game’, is one of the liveliest and wittiest products of his neoclassical ‘middle period’. It was written between December 1935 and December 1936 for the newly formed American Ballet (later New York City Ballet). The composer, at that time living in France, travelled to New York to supervise the choreographer George Balanchine’s final rehearsals, and to conduct the first performance at the Metropolitan Opera House in April 1937. Stravinsky was inspired to write the work by childhood memories of family holidays in German spa towns, where casinos formed part of the entertainment. One specific memory is enshrined in the introduction to each of the three parts, or ‘deals’, of the score: the ‘trombone voice’ of a master of ceremonies announcing ‘Ein neues Spiel,

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Philharmonic Orchestra. It was written specially for tonight’s soloists, Katia and Marielle Labèque. The Concerto is framed by two contrasting works by Russian-born composers, both completed in 1936. Igor Stravinsky’s Jeu de cartes, which forms part of the LPO’s current series Changing Faces: Stravinsky’s Journey, is a playful ballet score conceived as a stylised poker game, dominated by the shapeshifting figure of the Joker. Sergei Rachmaninoff’s Third Symphony, like its two predecessors, stands towards the end of the great line of Romantic symphonies; but up-to-date touches of harmony and metre give a distinct edge to the composer’s familiar flowing melodies and rich orchestration.

Jeu de cartes Ballet in three ‘deals’ 1 2 3

First Deal: Alla breve – Moderato assai – Tranquillo Second Deal: Alla breve – Marcia – Variazioni 1–5 – Coda – Marcia Third Deal: Alla breve – Valse – Presto – Tempo del principio

ein neues Glück’ – ‘New game, new fortune’. In more general terms, the casino setting inspired a number of allusions to 19th-century music that might have been played by the spa orchestras. Stravinsky himself mentioned ‘tunes by Rossini, Messager, Johann Strauss’. But the work’s spirit of play extends also to quotations from works by Beethoven, Ravel, Tchaikovsky and Delibes, not to mention Stravinsky’s own early Symphony in E flat. As a regular poker player, Stravinsky conceived the ballet as a stylised poker game, played out by the cards themselves without human intervention. For different occasions, he produced different versions of the scenario. But they have in common the central figure of

the Joker, unpredictable and dangerous because of his ability to represent any other card at will. In the First Deal, in a ‘Pas d’action’, he is unable to tip the balance between two even ‘straights’; he expresses his fury in a ‘Dance of the Joker’, but fails to impress the other cards, which dance a serene ‘Waltz-Coda’. In the Second Deal, the cards enter to a ‘March’; four Queens and the Jack of Hearts dance a sequence of ‘Variations’ (in the balletic sense of short solo dances) and a joint ‘Coda’; but in

a reprise of the ‘March’ followed by an ‘Ensemble’, they are defeated by the Joker and four Aces. In the Third Deal, there is a graceful ‘Waltz’ for a ‘flush’ of the Nine to Five of Hearts; a fierce ‘Presto (Combat between Spades and Hearts)’, in which these cards are overcome by the Joker, leading the Ten to Seven of Spades; and a ‘Final Dance (Triumph of the Hearts)’, in which the Joker and his Spades are in turn vanquished by the Ace, King, Queen, Jack and Ten of Hearts, a ‘royal flush’.

Bryce Dessner

Concerto for Two Pianos (world premiere)

born 1976

Katia Labèque piano Marielle Labèque piano Commissioned by the London Philharmonic Orchestra, Borusan Culture Arts Centre, Dresdner Philharmonie, Orchestre de Paris & Orquestra Nacionales de España.

Dessner is exactly the kind of composer who personifies what might be next for classical music. Mark Swed, Los Angeles Times Composer profile overleaf I first met Katia and Marielle Labèque during rehearsals for a concert we shared with the Los Angeles Philharmonic and Gustavo Dudamel several years ago. The LA Philharmonic was premiering a recent orchestral work of mine, paired with Katia and Marielle performing Philip Glass’s Concerto for Two Pianos. During that week in Los Angeles I became acquainted with their incredible playing and profoundly open and inspiring musical universe. I had also recently moved to Paris, and Katia and Marielle would quickly become a second family to me in France. Soon after that we started planning our future collaboration, which has now materialised with this new Concerto for Two Pianos. My new work for Katia, Marielle and the London Philharmonic Orchestra was composed throughout 2017, with a large portion of the development taking place in Katia and Marielle’s piano studio in Paris and their house on the Basque coast where they spend

most of the summer. I spent a lot of time familiarising myself with the repertoire they have performed over the years, and doing research on the deeply personal and intertwined musical history and style that they share. I also shared the score with them several times as it developed, to get their feedback and to be sure the ideas were translating well to the piano. I had previously composed a 20-minute piano duo for them in 2015 called El Chan, which they have toured extensively and now recorded for future release. Working on this first duo piece together was a great learning experience for me, in shaping how to address the challenges of writing for two pianos. My new Concerto is a tribute to two great musicians who I am honoured to work with and who I am even luckier to call my friends. Bryce Dessner, April 2018

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Programme notes continued

Bryce Dessner: Composer profile Bryce Dessner is one of the most sought-after composers of his generation. Known to many as a guitarist with The National, he is also active as a curator – a vital force in the flourishing realm of new creative music. His orchestral, chamber and vocal compositions have been commissioned by the Los Angeles Philharmonic, Kronos Quartet, BAM Next Wave Festival, Barbican Centre, Edinburgh International Festival, Sydney Festival, New York City Ballet and many others. Dessner’s music – called ‘gorgeous, full-hearted’ by NPR and ‘vibrant’ by The New York Times – is marked by a keen sensitivity to instrumental colour and texture. Propulsive rhythms often alternate with passages in which time is deftly suspended. His harmonies are expressive and flexible, ranging from the dense block chords of Aheym to the spacious modality of Music for Wood and Strings. Bridging musical languages and communities comes naturally to Dessner, born 1976 in Cincinnati, Ohio. After early training on the flute, he switched to classical guitar in his teens. While in high school he started a band with his twin brother Aaron, also a guitarist. He earned his bachelor’s and master’s degrees from Yale University. In the late 1990s he formed the adventurous instrumental quartet Clogs, and in 2001, co-founded the critically acclaimed, Grammy-nominated indie rock band The National. Composer profile © Music Sales

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

Serge Rachmaninoff 1873–1943

In the last quarter-century of his life, after moving from his native Russia to the United States, Rachmaninoff devoted most of his energies to his international career as a concert pianist. But in summer breaks at his European refuge, a villa beside Lake Lucerne, he composed a handful of works – among them, in the summers of 1935 and ’36, the last of his three symphonies. It was intended for The Philadelphia Orchestra, which gave the first performance under Leopold Stokowski in November 1936. In keeping with the orchestra’s reputation for quality of sound, the Symphony’s orchestration is opulent in the extreme, 12 | London Philharmonic Orchestra

Symphony No. 3 in A minor, Op. 44 1 Lento – Allegro moderato 2 Adagio ma non troppo 3 Allegro vivace – Tempo come prima 4 Allegro

with prominent parts for harp and celeste, and a large percussion section. But this rather obscures the work’s more modernist features – such as frequently changing time-signatures and some restless chromatic harmony – and its essential seriousness of purpose. Like Rachmaninoff’s earlier symphonies, the Third makes use of the unifying device of a motto theme. Here it is the sombre melody of the five-bar introduction, circling narrowly around the keynote A. A sudden burst of activity in the main tempo heralds the first subject proper, an oboe melody over an

undulating accompaniment, with a swooping violin continuation. A bridge passage in dancing triplet rhythms leads to the second subject on the cellos, one of Rachmaninoff’s characteristic warmly lyrical melodies. This expands, principally in a more martial version at a faster tempo, to complete the exposition section – which is marked to be repeated, though the composer did not observe this in his own recording. The development section concentrates on the triplets of the bridge passage, the first subject and, either side of the dramatic climax, the motto theme. The recapitulation dispenses with the triplets altogether, allowing the second subject more room to expand and move through different keys – though the last word is with the motto. The Symphony is in only three movements, with the second consisting of slow outer sections – in C sharp major, though lacking a key-signature – enclosing a scherzo. The first slow section starts with a new version of the motto, for horn over harp chords; its two main ideas are a languorous melody begun by solo violin, and an arching phrase for flute and then bass clarinet which is taken up by the violins at double speed, and later appears as a more fully developed string melody. A subsidiary linking idea of tremolando quintuplets, shared between first and second violins, returns as a bridge into the scherzo. In this, scattered fragments twice coalesce into a swaggering melody,

march-like but in triple time, which has suggested to different commentators a Breughel carnival scene or ‘a brilliantly caparisoned troop of cavalry’. A shadowy transition leads back to the first tempo and the linking quintuplets, followed by a shortened and varied reprise of the two main ideas of the first slow section and, as a last touch of symmetry, the motto theme on quiet pizzicato strings. The A major finale has an energetic first theme, which might have served Tchaikovsky as a Russian dance in one of his ballet scores, and another sweepingly lyrical second subject, at a slower tempo and with an even slower continuation. A strident reference to the motto on trumpets produces a temporary impasse, which is resolved when the strings launch a headlong fugue on a variant of the first theme. This later acquires a counter-subject derived from the first notes of the Dies irae funeral plainchant, an idée fixe of Rachmaninoff’s whole composing career. The Dies irae figure returns in the lead-back to the recapitulation, and again on stopped horns after the much modified reprise of the two main themes. The coda begins Allegretto with the motto theme deployed as a string ostinato beneath a graceful flute melody, and as it accelerates it also reintroduces the Dies irae. But both threatening ideas are banished by a dazzling orchestral pirouette and a resolute ending. Stravinsky & Rachmaninoff programme notes © Anthony Burton

Recommended recordings of tonight’s works Stravinsky: Jeu de cartes London Symphony Orchestra | Claudio Abbado (Deutsche Grammophon) Rachmaninoff: Symphony No. 3 London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0088: see right) or London Philharmonic Orchestra | Osmo Vänskä (LPO Label LPO-0036)

Jurowski conducts Rachmaninoff’s Symphony No. 3 on the LPO Label Rachmaninoff Symphony No. 3 Rachmaninoff 10 Songs Vladimir Jurowski conductor Vsevolod Grivnov tenor London Philharmonic Orchestra LPO-0088 | £9.99 Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via iTunes, Spotify, Amazon and others.

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be m ov e d Next concerts at Southbank Centreâ&#x20AC;&#x2122;s Royal Festival Hall

wednesday 18 april 2018 7.30pm

saturday 21 april 2018 7.30pm

wednesday 25 april 2018 7.30pm

Stravinsky Symphony in C Stravinsky Tango Debussy Fantaisie Shostakovich Symphony No. 6

Anders Hillborg Mantra â&#x20AC;&#x201C; Elegy (Homage to Stravinsky) (world premiere)* Falik Elegiac Music in memory of Igor Stravinsky Stravinsky Ode Beethoven Violin Concerto

Rachmaninoff Piano Concerto No. 2* Mahler Symphony No. 5

Vladimir Jurowski conductor Leif Ove Andsnes piano

Robert Trevino conductor Arseny Tarasevich-Nikolaev piano * In co-operation with the Serge Rachmaninoff Foundation.

Vladimir Jurowski conductor Gil Shaham violin * Commissioned by the London Philharmonic Orchestra with the support of the Ernst von Siemens Music Foundation, and the Aspen Music Festival.

Book now at lpo.org.uk or call 020 7840 4242 Season discounts of up to 30% available

14 | London Philharmonic Orchestra

GeT

closer

2018/19 concerT season

aT souThbank cenTre’s royal FesTival hall

on sale now hiGhliGhTs include chanGinG Faces: sTravinsky’s Journey we continue our yearlong series, delving into the composer’s works from the 1940s onwards.

opera in concerT wagner’s Die Walküre and stravinsky’s The Rake’s Progress under vladimir Jurowski, and puccini’s first opera, Le Villi.

isle oF noises Throughout 2019 this year-long festival celebrates the music of britain, from purcell, through elgar, bax and walton, to the present day.

beeThoven piano concerTos The flamboyant young spanish pianist Javier perianes joins us for two evenings to perform beethoven’s complete piano concertos.

book now aT lpo.orG.uk or call 020 7840 4242 season discounTs oF up To 30% available

Restoring Rachmaninoff â&#x20AC;&#x2122;s Life and Art

Revolution and War have scattered the artifacts documenting Sergei Rachmaninoff â&#x20AC;&#x2122;s Life and Art all over the world. In order to enable thorough, pioneering research, the Rachmaninoff Network has launched an ambitious, worldwide initiative to bring together, link and digitally restore all traces of his life - such as letters, photos, films and manuscripts - in a single database documenting the man, the artist and his life work. Learn how you can support this groundbreaking initiative! Visit http://www.rachmaninoff.org/news facebook.com/rachmaninoffnetwork email: support@rachmaninoff.org

In partnership with the Serge Rachmaninoff Foundation The Rachmaninoff Network is an official charity registered under Dutch law nr. 852690460

Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International 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 AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

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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 Victoria Robey OBE Orchestra Circle The Tsukanov Family Principal Associates An anonymous donor The Candide Trust In memory of Miss Ann Marguerite Collins Alexander & Elena Djaparidze Mr & Mrs Philip Kan Mr & Mrs Makharinsky Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Dr James Huang Zheng (of Kingdom Music Education Group) Associates Steven M. Berzin Gabor Beyer Kay Bryan William & Alex de Winton HH Prince George-Constantin von Sachsen-Weimar Eisenach Virginia Gabbertas Hsiu Ling Lu Oleg & Natalya Pukhov George Ramishvili Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre Gilly de Varennes de Bueil Hamish & Sophie Forsyth Sally Groves & Dennis Marks

The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan Geoff & Meg Mann Tom & Phillis Sharpe Eric Tomsett The Viney Family Laurence Watt Guy & Utti Whittaker Silver Patrons Michael Allen Mrs Irina Gofman David Goldberg Mr Gavin Graham Mr Roger Greenwood Pehr G Gyllenhammar Catherine Høgel & Ben Mardle Matt Isaacs & Penny Jerram Rose & Dudley Leigh Mrs Elizabeth Meshkvicheva The Metherell Family Mikhail Noskov & Vasilina Bindley Jacopo Pessina Brian & Elizabeth Taylor Bronze Patrons Anonymous donors Dr Christopher Aldren Mrs Margot Astrachan Mrs A Beare Richard & Jo Brass Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Richard Buxton John Childress & Christiane Wuillaimie Mr Geoffrey A Collens Mr John H Cook Bruno De Kegel Georgy Djaparidze David Ellen Ulrike & Benno Engelmann Ignor & Lyuba Galkin Mr Daniel Goldstein

18 | London Philharmonic Orchestra

Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home Mr Glenn Hurstfield Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein Mr Christopher Stewart Mrs Anne Storm Sergei & Elena Sudakov Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Principal Supporters An anonymous donor Ralph & Elizabeth Aldwinckle Roger & Clare Barron Mr Geoffrey Bateman David & Patricia Buck Dr Anthony Buckland Desmond & Ruth Cecil Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Mr Peter Cullum CBE Mr Timonthy Fancourt QC

Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Mr Raphaël Kanzas Rehmet Kassim-Lakha de Morixe Mr Colm Kelleher Peter Kerkar Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Peter Mace Brendan & Karen McManus Kristina McPhee Andrew T Mills Randall & Maria Moore Dr Karen Morton Olga Pavlova Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Tatiana Pyatigorskaya Mr Christopher Querée Martin & Cheryl Southgate Matthew Stephenson & Roman Aristarkhov Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Mr John D Barnard Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger Timothy Colyer Miss Tessa Cowie

Lady Jane Cuckney DBE Mr David Devons Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer Sabina Fatkullina Mrs Janet Flynn Christopher Fraser OBE Peter and Katie Gray The Jackman Family Mrs Irina Tsarenkov Mr David MacFarlane Mr John Meloy Mr Stephen Olton Robin Partington Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw Ms Natalie Spraggon Michael & Katie Urmston Damien & Tina Vanderwilt Timothy Walker AM Mr John Weekes 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) HH Prince George-Constantin von Sachsen-Weimar Eisenach (Germany)

Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (China/Hong Kong) Hsiu Ling Lu (China/Shanghai) 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: William A. Kerr Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee David Oxenstierna 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 Bonhams Celebro Media Christian Dior Couture Faraday Fenchurch Advisory Partners Giberg Goldman Sachs Pictet Bank White & Case LLP

Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Accenture Ageas Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations 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 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 Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Al MacCuish Susanne Martens* George Peniston* Natasha Tsukanova Mark Vines* 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 Dr Catherine C. Høgel Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham 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 Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Project Manager