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

GET

closer

2018/19 Concert Season

AT Southbank Centreâ&#x20AC;&#x2122;s Royal Festival Hall

concert programme

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

Southbank Centre’s Royal Festival Hall Saturday 13 October 2018 | 7.30pm

Poulenc Stabat Mater (33’) Interval (20’) Orff Carmina Burana (65’)

Jérémie Rhorer conductor Louise Alder soprano Toby Spence tenor Simon Keenlyside baritone London Philharmonic Choir Artistic Director: Neville Creed

Tiffin Boys’ Choir Director: James Day

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 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Jérémie Rhorer 7 Louise Alder Toby Spence 8 Simon Keenlyside Tiffin Boys’ Choir 9 London Philharmonic Choir 10 Programme note: Poulenc 12 Text: Poulenc 14 Programme note: Orff 16 Text: Orff 28 Next concerts 29 Sound Futures donors 30 Supporters 32 LPO administration

Welcome

Welcome to Southbank Centre

Orchestra news

New on the LPO Label: Tchaikovsky and film music

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. 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. Explore across the site with Foyles, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, 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 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.

This month sees two new releases on the LPO Label. Last year we released a Complete Tchaikovsky Symphonies box set conducted by Vladimir Jurowski, and now a disc of Symphonies Nos. 2 and 3, taken from the box set, is available as a separate disc priced £9.99 (LPO-0109). Jurowski’s Tchaikovsky has been praised for its nuance, musical empathy and intelligent phrasing, and these live concert recordings are sure to delight Tchaikovsky-lovers.

Our second release this month is The Genius of Film Music: Hollywood Blockbusters 1980s–2000s. Conducted by Dirk Brossé, this is the second compilation of film music on the LPO Label and features some of the best-loved film scores of the late 20th century including Star Wars, The Mission, Indiana Jones and Gladiator, as well as plenty of lesser-known gems for film-score fans. The double CD is priced £10.99 (LPO-0110). All LPO Label CDs are 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 online via Spotify, Apple Music and others.

MOBILES AND WATCHES should be switched off before the performance begins.

Thank you We would like to extend our thanks to the Community and Youth Music Library, a charity which loaned scores of Poulenc’s Stabat Mater to the London Philharmonic Choir for tonight’s concert. cymlibrary.org.uk

2 | London Philharmonic Orchestra

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Grace Lee Rebecca Shorrock Amanda Smith Georgina Leo Lasma Taimina Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Eriko Nagayama Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Marie-Anne Mairesse Ashley Stevens Sioni Williams Kate Cole Sheila Law Nilufar Alimaksumova Ioana Forna Nicole Stokes Suzannah Quirke Emma Martin Violas David Quiggle Principal Ting-Ru Lai Katharine Leek

Susanne Martens Benedetto Pollani Naomi Holt Daniel Cornford Martin Wray Sarah Malcolm Luca Casciato Cristina Gestido Mark Gibbs

Oboes Ian Hardwick* Principal Alice Munday

Cellos Pei-Jee Ng Principal Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Tom Roff Helen Rathbone

Clarinets Ian Scott Guest Principal Thomas Watmough Paul Richards*

Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

Chair supported by Friends of the Orchestra

David Whitehouse

Sue Bรถhling* Bass Trombone Lyndon Meredith Principal

Cor Anglais Sue Bรถhling* Principal Chair supported by Dr Barry Grimaldi

Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal

Bass Clarinet Paul Richards* Principal

Chair supported by Andrew Davenport

E-flat Clarinet Thomas Watmough Principal Chair supported by Roger Greenwood

Double Basses Hugh Kluger Principal George Peniston Laurence Lovelle Charlotte Kerbegian Jakub Cywinski David Johnson Kenneth Knussen Catherine Ricketts Flutes Sue Thomas* Principal Chair supported by Victoria Robey OBE

Hannah Grayson Stewart McIlwham* Piccolos Stewart McIlwham* Principal Hannah Grayson

Bassoons Gareth Newman Principal Laura Vincent Simon Estell* Contrabassoon Simon Estell* Principal Horns David Pyatt* Principal Chair supported by Sir Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Gareth Mollison Duncan Fuller Trumpets Paul Beniston* Principal Anne McAneney*

Tuba Lee Tsarmaklis* Principal

Keith Millar Oliver Yates James Bower Karen Hutt Feargus Brennan Stefan Beckett Harps Lucy Wakeford Guest Principal Ruth Holden Pianos John Alley Bernard Robertson Celeste John Cuthbert

* Holds a professorial appointment in London Meet our members: lpo.org.uk/players

Chair supported by Geoff & Meg Mann

Tony Cross The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Bianca & Stuart Roden โ ข Eric Tomsett

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

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

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2018 we explore

4 | London Philharmonic Orchestra

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. In 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and Britishinspired music from Purcell to the present day. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of the 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.

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. In 2017/18 we celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO Young Composers programme; the Foyle Future Firsts orchestral training programme; and the LPO Junior Artists scheme for talented young musicians from communities and backgrounds currently underrepresented in professional UK orchestras. The Orchestra’s work at the forefront of digital engagement and social media has enabled it to reach even more people worldwide: as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra 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 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 Shostakovich’s Symphony No. 7 conducted by the late Kurt Masur, and a disc of orchestral works by Richard Strauss conducted by Vladimir Jurowski.

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

Jérémie Rhorer conductor

Much credit should go to Jérémie Rhorer, making his UK operatic debut, who conducts the London Philharmonic Orchestra with warmth and vitality – establishing pace and propelling the action forward, but with charm and a lightness of touch. The evening is a complete delight. © Luc Braquet

Financial Times, June 2013 (The Marriage of Figaro at Glyndebourne)

Aged 45, Jérémie Rhorer is one of the most exciting and versatile conductors of his generation. He continues in the tradition of artist-innovator as the founder and Music Director of Le Cercle de l’Harmonie, leading the exploration of 18th- and 19th-century repertoire using period instruments and original tuning. As a conductor, Rhorer is an equally acclaimed interpreter of the works of Mozart, as well as modern works. A winner of the Prix Pierre Cardin, he is also a respected composer.

interpretation of Poulenc’s Dialogues des Carmélites directed by Olivier Ply, which received a 2016 BBC Music Magazine Award for its DVD recording. Rhorer also led the Théâtre des Champs-Elysées’ Mozart series over several seasons, conducting Le Cercle de l’Harmonie in La clemenza di Tito (2014), Die Entführung aus dem Serail (2015) and Don Giovanni (2016). Live recordings of La clemenza di Tito and Die Entführung aus dem Serail were both released on CD by Alpha Classics.

Jérémie Rhorer has conducted some of the most distinguished international orchestras including the Montréal Symphony Orchestra, the Philharmonia Orchestra, the Gewandhaus Orchestra, the Rotterdam Philharmonic, the Orchestre de Paris and the Czech Philharmonic. In demand as an opera conductor, he has led productions at the Vienna State Opera, the Bavarian State Opera, La Monnaie in Brussels, the Teatro Real in Madrid, and the Teatro Comunale di Bologna. Rhorer has also guest conducted at some of Europe’s most prestigious international festivals such as Aix-enProvence, Glyndebourne (where he conducted The Marriage of Figaro with the LPO in 2013), Edinburgh, the BBC Proms, the Salzburg Festival and the Spoleto Festival. With Le Cercle de l’Harmonie he has led pioneering new interpretations of standard operatic works, most recently conducting performances of Rossini’s The Barber of Seville using period instruments at the Edinburgh International Festival and Musikfest Bremen in summer 2018.

In November and December 2018 Rhorer returns to Théâtre des Champs-Elysées to conduct Le Cercle de l’Harmonie in a groundbreaking new production of Verdi’s La traviata directed by Deborah Warner and using Verdi’s original 432 Hz tuning. Rhorer and Le Cercle de l’Harmonie will repeat their interpretation of La traviata in March 2019 at the Klara Festival in Brussels.

Rhorer has forged a close relationship with the Théâtre des Champs-Elysées, where he has conducted a wide range of standard, rarely performed and contemporary operas. Following his debut there in 2013 with Spontini’s La vestale, Rhorer gave a celebrated

6 | London Philharmonic Orchestra

Further highlights of Rhorer’s 2018/19 season include Strauss’s Ariadne auf Naxos directed by Katie Mitchell at the Théâtre des Champs-Elysées, and guest conducting engagements with the Teatro la Fenice Orchestra, the Brucknerorchester Linz, the Deutsche Kammerphilharmonie Berlin and with the Russian National Orchestra in Moscow and on tour in Germany.

Toby Spence

soprano

tenor

Louise Alder studied at the Royal College of Music’s International Opera School. She won the Young Singer Award at the 2017 International Opera Awards and the Dame Joan Sutherland Audience Prize at the 2017 Cardiff Singer of the World Competition. She also won the 2015 inaugural Young British Soloists’ Competition, and was the recipient of Glyndebourne’s 2014 John Christie Award. Louise is a member of Oper Frankfurt’s Ensemble, where her roles this season include Gretel (Hänsel und Gretel), Romilda (Serse), Pamina (The Magic Flute) and Monica in a new production of Menotti’s The Medium. She also makes debuts at the Teatro Real, Madrid in the title role of La Calisto and at the Bayerische Staatsoper, Munich as Gretel. Future seasons include returns to the Glyndebourne Festival and the Royal Opera, and debuts at English National Opera, the Canadian Opera Company and the San Francisco Opera. Last month Louise sang the title role in Theodora at the BBC Proms with Arcangelo and Jonathan Cohen; forthcoming concert appearances include the title role in Semele on tour with the Monteverdi Choir and John Eliot Gardiner; Messiah with the Deutsches SymphonieOrchester Berlin in performances staged by Frederick Wake-Walker; Brahms’s German Requiem with the Royal Liverpool Philharmonic Orchestra and Vasily Petrenko; Jessie in Mark-Anthony Turnage’s The Silver Tassie with the BBC Symphony Orchestra and Ryan Wigglesworth; Mozart Arias in Salzburg with the Chamber Orchestra of Europe and Robin Ticciati; and The Plaintiff in Gilbert and Sullivan’s Trial by Jury with the Orchestra of the Age of Enlightenment and John Wilson at Southbank Centre’s Queen Elizabeth Hall.

Louise Alder

An honours graduate and choral scholar from New College, Oxford, Toby Spence studied at the Opera School of the Guildhall School of Music & Drama. He was the winner of the Royal Philharmonic Society 2011 Singer of the Year award. In concert Toby has sung with The Cleveland Orchestra under Christoph von Dohnányi, the Berlin Philharmonic and Vienna Philharmonic under Simon Rattle, the San Francisco Symphony under Michael Tilson Thomas, the Accademia Nazionale di Santa Cecilia under Antonio Pappano, the Rotterdam Philharmonic under Valery Gergiev, the Los Angeles Philharmonic under Gustavo Dudamel, the Bayerischer Rundfunk under John Eliot Gardiner, and at the Salzburg and Edinburgh festivals under Roger Norrington and the late Charles Mackerras. Toby last appeared with the London Philharmonic Orchestra in April 2018 in Stravinsky’s Perséphone under Thomas Adès at Royal Festival Hall. Other recent appearances include The Seasons with the Philharmonie de Paris: Bruckner’s F minor Mass with the Sinfonieorchester Basel; The Creation with the Houston Symphony Orchestra; Messiah, Beethoven’s Choral Fantasy and Haydn’s Nelson Mass with the Bournemouth Symphony Orchestra in Mumbai; and Beethoven’s Missa Solemnis with the London Symphony Orchestra under Michael Tilson Thomas. Engagements in the 2018/19 season include Dvořák’s Stabat Mater with Houston Symphony Orchestra; Britten’s War Requiem with the Toronto Symphony Orchestra; Szymanowski’s Third Symphony for the Gulbenkian Foundation; and Orff’s Carmina Burana in Shanghai and Beijing with Long Yu and Aida Garifullina for Deutsche Grammophon’s 120’s anniversary. Opera engagements include Captain Vere in Billy Budd for the Royal Opera House and a staged version of Britten’s Les Illuminations for Teatro Real Madrid.

London Philharmonic Orchestra | 7

Simon Keenlyside

Tiffin Boys’ Choir

baritone

James Day director

Born in London, Simon Keenlyside is one of the world’s most soughtafter and charismatic singers, noted for his versatility and highly charged performances. Simon’s 2018/19 season includes the title roles in Don Giovanni and Rigoletto at the Bayerische Staatsoper, Munich; Germont Père (La traviata) and Ford (Falstaff) at the Wiener Staatsoper; Count Almaviva (Le nozze di Figaro) for the Royal Opera; and Wolfram (Tannhäuser) at the Deutsche Oper Berlin. On the concert platform Simon will perform with The Cleveland Orchestra under Franz Welser-Möst; the Vienna Radio Symphony Orchestra under Ryan Wigglesworth; and the Orchestre Philharmonique du Luxembourg under Gustavo Gimeno.

Since its foundation in 1957, the Tiffin Boys’ Choir has been one of the few state school choirs continually at the forefront of the choral music scene in Britain. The Choir has worked with all the London orchestras and performs regularly with the Royal Opera. Recent engagements have included Mahler’s Symphony No. 3 (London Symphony Orchestra/Bernard Haitink, Philharmonia/Jakub Hruša, LA Philharmonic/Gustavo Dudamel); Nielsen’s Springtime in Funen (BBC Symphony Orchestra/Andrew Litton) at the BBC Proms; Mahler’s Symphony No. 8 (LPO/Vladimir Jurowski, Philharmonia/Esa-Pekka Salonen); Boris Godunov (Mariinsky/Valery Gergiev); the UK premiere of Unsuk Chin’s Alice in Wonderland; the soundtrack for The Hobbit at Abbey Road Studios; appearing on set in the film Philomena; and Titanic Live! with James Horner.

Simon has sung in concert under the batons of many of the world’s leading conductors, appearing with the Chamber Orchestra of Europe; the City of Birmingham, London Symphony, Philharmonia and Cleveland orchestras; and the Czech, Vienna and Berlin Philharmonic orchestras. He has recorded Britten’s War Requiem with the London Symphony Orchestra under Gianandrea Noseda, Mendelssohn’s Elijah under Paul McCreesh, Des Knaben Wunderhorn under Simon Rattle, the title role in Macbeth under Edward Gardner, the title role in Don Giovanni under Claudio Abbado, Carmina Burana under Christian Thielemann, Marcello in La bohème under Riccardo Chailly, the title role in Billy Budd under Richard Hickox, Papageno The Magic Flute under Charles Mackerras, Count Almaviva in the Grammy award-winning Le nozze di Figaro under René Jacobs, and Prospero in Thomas Adès’s The Tempest, which won the Best Opera Recording (Grammy Awards 2014) and Music DVD Recording of the Year (Echo Klassik Awards 2014).

The Choir has recorded most of the orchestral repertoire that includes boys’ choir. Notable releases include Mahler’s Symphony No. 8 (EMI/Klaus Tennstedt), which was nominated for a Grammy Award; Puccini’s Il trittico, Massenet’s Werther and Puccini’s Tosca (EMI/Antonio Pappano); Britten’s Billy Budd (Chandos/Richard Hickox); Mahler’s Symphony No. 3 (Signum Classics/Lorin Maazel, LSO Live/Valery Gergiev, Telarc/Benjamin Zander); and Britten’s War Requiem (LPO Label/Kurt Masur).

Simon received a knighthood in the 2018 Birthday Honours and, in 2017, was awarded the title of Austrian Kammersänger by the Wiener Staatsoper. In 2011 he was named Musical America’s Vocalist of the Year, in 2007 he won the ECHO Klassik Male Singer of the Year Award and, in 2006, he was the recipient of the Olivier Award for Outstanding Achievement in Opera. 8 | London Philharmonic Orchestra

With altos, tenors and basses drawn entirely from within the school, the Choir gives frequent concerts in London and tours regularly, including in recent years to Australia, China, the Czech Republic, St Petersburg and Italy.

George Ashley Dylan Bevan Alistair Brendon Viggo Buzogany Leon Carey Oliver Cheung Ben Church Joe Desmond Alan Erdelyi Francis Gorniak Isaac Hardy Nikolai Harin Marco Hilmy Barney Howard Constantin Iosub David Kitamirike Austin Lee

Oscar Luck Avan Majumdar Ryan Man Daniel McCarthy Shirav Medepalli Erel Morris Toby Perot Amaarya Prasad Arthur Pritchard Kavin Ravishankar Michael Reinecke Stephen Shakespeare Pranav Sharma Henry Studholme Harry Thurstan Dominic Virley Harvey Walsh-Whitfield

London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder Artistic Director Neville Creed | Accompanist Jonathan Beatty | Chairman Tessa Bartley

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Highlights in recent years have included Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; Haydn’s The Creation with Sir Roger Norrington; and Mozart’s Requiem under Nathalie Stutzmann. The Choir was delighted to celebrate its 70th anniversary in April 2017 with a highly acclaimed performance of Tallis’s Spem in alium and Mahler’s Symphony No. 8 under Vladimir Jurowski. The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. Join us: lpc.org.uk facebook.com/LondonPhilharmonicChoir twitter.com/lpchoir instagram.com/lpchoir Supported by

Sopranos Pippa Alderson Annette Argent Tessa Bartley Hilary Bates Agnes Bialecki Sarah Bindon Catherine Boxall Hannah Boyce Vicki Brammall Laura Buntine Coco Burch Charlotte Cantrell Olivia Carter Paula Chessell Sally Cottam Victoria Denard Jessica Dixon Lucy Doig Kathryn Flood Rachel Gibbon Rosie Grigalis Jane Hanson Sally Harrison Mai Kikkawa Joy Lee Martha MacBean Janey Maxwell Meg McClure Harriet Murray Mariana Nina Kathryn O’Leary Linda Park Tanja Ravljen Danielle Reece-Greenhalgh Katie Stuffelbeam Susan Thomas Susan Watts Jo Webster Rochelle Williams Lorna Wills Altos Susannah Bellingham Andrei Caracoti Lara Carim Isabelle Cheetham Noel Chow Liz Cole Sara de la Serna Pat Dixon Henrietta Fisher Rachel Halstead Bethea Hanson-Jones Judy Jones Andrea Lane Ethel Livermore Lisa MacDonald Gill Main Miroslava Mala Laetitia Malan

Ian Maxwell Malvina Maysuradze Caroline Morris Sophie Morrison Karine Sá Ferreira Carolyn Saunders Rima Sereikiene Lily Smith Annette Strzedulla Jenny Watson Tenors Tim Appleby Chris Beynon James Clarke Tommy Dalglish Fred Fisher Alan Glover Josh Haley David Hoare Stephen Hodges Sam Holmes David Hu Tony Masters Luke Phillips Sergiu Plotnic Grigore Riciu Simon Schnorpfeil Lucas Sousa Gomes Claudio Tonini Martin Yates Basses Martyn Atkins Peter Blamire Gordon Buky-Webster Xabier Casan Abia Julian Cassels-Brown John D Morris Phillip Dangerfield Marcus Daniels Paul Fincham John G Morris Christopher Gadd Nicholas Hennell-Foley Mark Hillier Stephen Hines John Luff Christopher Mackay Will Parsons Stephen Peacock Charlie Pearch Johannes Pieters Yinong Qin Alex Thomas Trevor Watson Hin-Yan Wong John Wood

London Philharmonic Orchestra | 9

Programme notes

Speedread ‘In Poulenc’, wrote French critic Claude Rostand, ‘there is something of the monk and something of the rascal’. And that is certainly the case with the religious music he wrote during the second part of his life. Finding his faith again in the 1930s, Poulenc penned a series of sacred works that prove as sincere as they are sensual. Eventually, these led to an extraordinary triptych, composed towards the end of the composer’s life and beginning with his searing Stabat Mater. Created in memory of his friend Christian Bérard, its rich and varied music offers both a requiem and a celebration of the artist and designer’s life.

Francis Poulenc

In the second half of tonight’s concert, monks and rascals are likewise present in Carl Orff’s no less colourful, though decidedly less pious, Carmina Burana. The cantata, dating from 1937, sets a collection of bawdy medieval poems found at the Benedictine monastery of Benediktbeuern during the 19th century. Eager young lovers, libidinous abbots and beer-guzzling peasants fill the pages of Orff’s score. And although the work initially fell foul of the Nazi regime, Carmina Burana has become one of the most popular choral works of all time, showing medieval Bavaria in a riot of musical technicolour.

Stabat Mater Louise Alder soprano London Philharmonic Choir

1899–1963

1 2 3 4 5 6 7 8 9 10 11 12

Stabat mater dolorosa Cujus animam gementem O quam tristis Quae moerebat Quis est homo Vidit suum Eja mater Fac ut ardeat Sancta mater Fac ut portem Inflammatus et accensus Quando corpus

The text begins on page 12.

10 | London Philharmonic Orchestra

It was during the 1930s that Poulenc rediscovered his faith. A Catholic by birth, he had not been a regular churchgoer since childhood. But then, in 1936, one of his rivals, the composer Pierre-Octave Ferroud, was decapitated in a road accident in Hungary. The brutality of the incident had a marked effect on Poulenc, who was holidaying at the time near the sacred site of Rocamadour. Having visited the southwest French town, with its famous Black Madonna, Poulenc began composing his Litanies à la Vierge noire, followed by a demanding, a cappella setting of the Mass (1937). There then came a sequence of motets, first on penitential themes, followed by four reflecting on the Christmas story. Far from austere, these works flaunted Poulenc’s sumptuous idiom. And that tendency towards sensual spirituality would typify Poulenc’s work for the rest of his career, culminating in a sequence of late religious masterpieces, including his opera Dialogues

des Carmélites, first performed in Milan in 1957, and the jocund 1960 setting of the Gloria. The triptych began, however, in 1950, with his Stabat Mater for soprano, mixed chorus and orchestra. Like Poulenc’s religious works of the 1930s, the Stabat Mater was stirred by the shock of death. Christian Bérard, a Paris-based artist, fashion illustrator and designer, died suddenly of a heart attack on stage at the Théâtre Marigny on 11 February 1949. Poulenc immediately decided to write a tribute to his friend, initially thinking of a Requiem, but then, following another trip to Rocamadour, deciding upon the Stabat Mater, the 13th-century hymn portraying Mary’s suffering during the Crucifixion. The work takes the form of 12 shortish movements and is written in a deliberately antique style, looking back to the liturgical works of the court of Louis XIV, not least those by Lully. Unlike the later Gloria, with its bold and brassy orchestral writing, the Stabat Mater is more restrained, though there is impassioned music here too,

as well as a dose of luxury, introduced by a mellifluous soprano in ‘Vidit suum’, ‘Fac ut portem’ and ‘Quando corpus’ and representing the Mother of God. The doleful tones with which the work begins, however, look ahead to the tragic close of Dialogues des Carmélites. And then, as there, violence is unleashed in the brief but powerful ‘Cujus animam’. A cappella textures follow in the third movement, turning more carefree in ‘Quae moerebat’ and impassioned in ‘Quis es homo’. Mary’s voice is heard in the extended ‘Vidit suum’, to which the chorus offers consolation, with a happier note sounding in ‘Eja mater’. Another contrast, ‘Fac ut ardeat’ strips all lushness away before the strings pour out their balm in a series of prayerful interludes. This is followed by the Baroque sarabande of ‘Fac ut portem’ before Poulenc takes ‘Inflammatus et accensus’ entirely at its word. Finally, he closes his tribute to Bérard with a moving juxtaposition of prayerfulness and passion, as is evident throughout the composer’s religious music.

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

Poulenc’s Stabat Mater on the LPO Label Poulenc: Piano Concerto in C sharp minor Concerto for Organ, Strings and Timpani in G minor Stabat Mater Yannick Nézet-Séguin conductor Alexandre Tharaud piano James O’Donnell organ Kate Royal soprano London Philharmonic Orchestra and Choir £9.99 | LPO-0076 CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Apple Music, Amazon, Spotify and others.

London Philharmonic Orchestra | 11

Poulenc: Stabat Mater text

1. Stabat mater dolorosa (chorus) Stabat mater dolorosa Juxta crucem lacrymosa Dum pendebat filius.

The sorrowing mother stood weeping beside the cross where hung her son.

2. Cujus animam gementem (chorus) Cujus animam gementem Contristatem et dolentem Pertransivit gladius.

Her groaning spirit, saddened and lamenting, a sword had pierced.

3. O quam tristis (chorus) O quam tristis et afflicta Fuit illa benedicta Mater unigeniti.

Oh how sad and afflicted was that blessed mother of the only-begotten.

4. Quae moerebat (chorus) Quae moerebat et dolebat Pia mater dum videbat Nati poenas inclyti.

She mourned and sorrowed gentle mother as she saw the sufferings of her glorious son.

5. Quis est homo (chorus) Quis est homo qui non fleret Matrem Christi si videret In tanto supplicio?

Who is the man who would not weep if he saw the mother of Christ in such distress?

Quis non posset contristari Matrem Christi contemplari Dolentem cum filio?

Who could not sorrow contemplating the mother of Christ grieving with her son?

Pro peccatis suae gentis Vidit Jesum in tormentis Et flagellis subditum.

For the sins of his people she saw Jesus in torment and subjected to the scourge.

6. Vidit suum (soprano and chorus) Vidit suum dulcem natum Morientem desolatum Dum emisit spiritum.

She saw her sweet child dying in desolation as he gave up the spirit.

7. Eja mater (chorus) Eja mater, fons amoris, Me sentire vim doloris Fac ut tecum lugeam.

12 | London Philharmonic Orchestra

Ah mother, source of love, let me feel the force of grief that I may weep with thee.

8. Fac ut ardeat (chorus) Fac ut ardeat cor meum In amando Christum Deum Ut sibi complaceam.

Make my heart blaze with love of Christ God that I may please him.

9. Sancta mater (chorus) Sancta mater, istud agas, Crucifixi fige plagas Cordi meo valide.

Holy mother, grant this, stamp the wounds of the crucified firmly on my heart.

Tui nati vulnerati, Tam dignati pro me pati, Poenas mecum divide.

That thy wounded son, who deigned to suffer for me, may share with me his sufferings.

Fac me vere tecum flere Crucifixo condolere Donec ego vixero.

Make me truly weep with thee grieve with thee for the crucified as long as I live.

Juxta crucem tecum stare Te libenter sociare In planctu desidero.

Beside the cross to stand with thee to join thee willingly in mourning I desire.

Virgo virginum praeclara, Mihi jam non sisamara, Fac me tecum plangere.

Virgin supreme among virgins, do not now be harsh to me, let me weep with thee.

10. Fac ut portem (soprano and chorus) Fac ut portem Christi mortem, Passionis fac consortem, Et plagas recolere.

Grant I may bear Christâ&#x20AC;&#x2122;s death, grant me a share in his passion, and remembrance of his wounds.

Fac me plagis vulnerari, Cruce hac inebriari Ob amorem filii.

Let me be wounded with his wounds, by this cross be filled with love for thy son.

11. Inflammatus et accensus (chorus) Inflammatus et accensus, Per te, virgo, sim defensus In die judicii.

Inflamed and afire, through thee, virgin, let me be defended on the Day of Judgement.

Christe cum sit hinc exire Da per matrem me venire Ad palmam victoriae.

Christ, when I must pass away grant that through thy mother I may come to the palm of victory.

12. Quando corpus (soprano and chorus) Quando corpus morietur, Fac ut animae donetur Paradisi gloria. Amen.

When my body dies, grant that my spirit may be given the glory of paradise. Amen. English translation ÂŠ Eric Mason London Philharmonic Orchestra | 13

Programme notes continued

Carl Orff 1895–1982

Carmina Burana Louise Alder soprano Toby Spence tenor Simon Keenlyside baritone London Philharmonic Choir Tiffin Boys’ Choir

The text begins on page 19. Carl Orff was born in Munich in 1895 and studied in the city before working as Kapellmeister at its esteemed Kammerspiele. Drafted into the army during World War I, he was later deemed unfit for service and returned home, splitting his time between his studies of the music of the 16th and 17th centuries and developing new educational schemes. These privileged a sense of community, firstly through dance and then, by means of his study of Bavarian history, through music. It was these interests that were to provide the groundwork for what would become Orff’s most popular work. Carmina Burana is a collection of 250 satirical medieval poems, written by a group of clerical students. The texts poke fun at what they saw as the hypocrisy of the church, as well as indulging in erotic fantasy. The illustrated manuscript was found in 1803 in the Benedictine monastery of Benediktbeuern, south of Munich, and became an important document for Bavarian culture. The discovery of the texts coincided with the nationalist movements of the 19th century, leading up to German unification, which celebrated the country’s past and which were often aligned with patriotic, anti-urban principles. Orff set 24 texts from the manuscript, which he selected in collaboration with the avid classicist Michel Hofmann. And although the resulting work is today more often than not heard in the concert hall, it began life on stage, in Frankfurt, on 8 June 1937. Hugely popular with the public, it was not well received by the authorities, with the Nazi-endorsed Völkischer Beobachter calling the cantata ‘Bavarian Niggermusik’. Consequently, many opera houses distanced themselves from the work, but Orff’s popularity proved unstoppable and Carmina Burana was then widely performed during the

14 | London Philharmonic Orchestra

Third Reich. Today, despite the composer’s unsavoury associations and opportunism during the war, his most famous work still proves infectious. Reflecting the wheel of fortune that illustrated the original poems, as well as the first edition of the score, the cantata is cyclical in structure, bookended by a poem about the cruel hand of fate. The introduction, Orff’s D minor ‘O Fortuna’, makes a huge impact, with its chugging rhythms dominating the work as a whole. Here, they build to a scorching climax, after which ‘Fortune piango vulnera’ offers a bruised chant. Spring arrives, albeit cast in melancholy colours. The basses’ and altos’ mournful mantra could not be further from the ‘merry face of spring’ described in the text. The tenors and sopranos likewise fail to provide cheer and the baritone soloist’s descriptions of April return to the brooding D minor with which the cantata began. Suddenly, however, the mood changes, shifting to F major for the jovial ‘Ecce gratum’, in which Orff’s jangling percussion and two pianos come to the fore. The next part of the cantata, ‘Uf dem Anger’, is even more charged. The opening dance, tonally stable but Stravinsky-like in its rhythmic irregularities, prompts the waltzing ‘Floret silva’. The peasants are on heat and in the sopranos’ spry ‘Chramer, gip die varwe mir’ (moving from Latin to Middle High German) and the harmonically-lush humming that follows, sex is never far away. Finally, in the imposing ‘Were diu werlt alle min’, the chorus imagines the Queen of England lying in their arms. We then move to the tavern. Lustful ambitions have come to nothing and the men turn drunk and bitter –

the upper voices are absent from this testosteronecharged section. After the baritone’s braying introduction, we hear a swan roasting on the fire, with squealing bassoons and a gruellingly high tenor providing this picture of emasculation. The Abbot of Cockaigne is having none of it, however, and his ‘gesturing and mocking’ provokes the riotous drinking song, ‘In taberna quando sumus’.

the peasants are left powerless, with Carmina Burana ending just as it began. Programme notes © Gavin Plumley

After such muscularity, Orff moves to the ‘Cour d’amours’. This is the domain of a boys’ choir and a soprano soloist. The melancholy tone of ‘Primo vere’ returns and sexual frustrations are palpable again in the baritone’s ‘Dies, nox et omnia’. The soprano responds with the coquettish ‘Stetit puella’, which in turn triggers the virile ‘Circa mea pectora’. The tavern brawlers reappear and chase the women in ‘Veni, veni, venias’. Caught, the soprano acquiesces, with her amorous but, according to the score, ‘always veiled’ solo, ‘In trutina’. With the women having conceded, the soloists, boys, chorus and orchestra join together in ‘Tempus est iocundum’, a wild carnival of sexual congress, out of which the soprano’s leaping ‘Dulcissime’ sounds in orgasmic submission. The chorus then greets virginal heroines such as Blanchefleur, Helen and Venus, as wild bells ring out. But Fortune’s wheel has turned and

PLAYER’S PERSPECTIVE ‘Carmina Burana has been a favourite of mine since I first heard it performed at the Southampton Guildhall when I was nine or ten. I was learning the violin at the time, but still remember that as well as being awestruck by the drama of the opening movement, I was dazzled by the splendid array of timpani and percussion instruments on stage – it was definitely a Damascene moment for me!’ Simon Carrington, Principal Timpani

Carmina Burana on the LPO Label Hans Graf conductor Sarah Tynan soprano Andrew Kennedy tenor Rodion Pogossov baritone London Philharmonic Orchestra & Choir Trinity Boys Choir £9.99 | LPO-0076

‘A blistering rendition ... a worthy addition to the discography.’’ The Northern Echo CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Apple Music, Amazon, Spotify and others.

London Philharmonic Orchestra | 15

Orff: Carmina Burana

Fortuna Imperatrix Mundi

Fortune, Empress of the World

1 2

O fortune chorus I lament the wounds that Fortune deals chorus

O Fortuna Fortune piango vulnera

I – Primo vere

Springtime

3 4 5

The joyous face of spring All things are tempered by the sun Behold the welcome

Veris leta facies Omnia sol temperat Ecce gratum

Uf dem Anger

On the Green

6 7 8 9 10

Dance The forest flowers Salesman, give me coloured paint Round Dance They who here go dancing round Come, come, dear heart of mine They who here go dancing round If the whole world were but mine

Tanz Floret silva Chramer, gip die varwe mir Reie Swaz hie gat umbe Chume, chum, geselle min Swaz hie gat umbe (reprise) Were diu werlt alle min

II – In Taberna

In the Tavern

11 12 13 14

Seething inside Once in lakes I made my home I am the abbot of Cockaigne When we are in the tavern

Estuans interius Olim lacus colueram Ego sum abbas In taberna quando sumus

III – Cour d’amours

Court of Love

15 16 17 18 19 20 21 22 23

Love flies everywhere Day, night and all the world There stood a young girl In my breast If a boy and a girl Come, come, pray come On the scales Pleasant is the season Sweetest boy

Amor volat undique Dies, nox et omnia Stetit puella Circa mea pectora Si puer cum puellula Veni, veni, venias In trutina Tempus est iocundum Dulcissime

Blanziflor et Helena

Blanchefleur and Helen

Hail to thee, most lovely

Ave formosissima

Fortuna Imperatrix Mundi

Fortune, Empress of the World

O fortune

O Fortuna (reprise)

16 | London Philharmonic Orchestra

small chorus baritone chorus

orchestra chorus and small chorus boys’ chorus and chorus orchestra chorus chorus chorus chorus

baritone tenor and male chorus baritone and male chorus male chorus

soprano and boys’ chorus baritone soprano baritone and chorus baritone and male chorus double chorus soprano soprano, baritone, chorus and boys’ chorus soprano

chorus

Orff: Carmina Burana text

FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) 1

O Fortuna (chorus)

O fortuna, velut luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem. Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Sors salutis et virtutis michi nunc contraria, est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

O fortune! Like the moon ever changing, rising first then declining; hateful life treats us badly then with kindness, making sport with our desires, causing power and poverty alike to melt like ice. Dread destiny and empty fate, an ever turning wheel, who make adversity and fickle health alike turn to nothing, in the dark and secretly you work against me; how through your trickery my naked back is turned to you unarmed. Good fortune and strength now are turned from me, Affection and defeat are always on duty. Come now, pluck the strings without delay; and since by fate the strong are overthrown, weep ye all with me.

Fortune piango vulnera (chorus)

Fortune piango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis. Verum est, quod legitur fronte capillata,

I lament the wounds that fortune deals with tear-filled eyes, for returning to the attack she takes her gifts from me. It is true as they say, London Philharmonic Orchestra | 17

Orff: Carmina Burana text contd.

sed plerumque sequitur occasio calvata. In fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus. Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice — caveat ruinam! Nam sub axe legimus Hecubam reginam.

the well-thatched pate may soonest lose its hair. Once on fortune’s throne I sat exalted, crowned with a wreath of prosperity’s flowers. But from my happy, flower-decked paradise I was struck down and stripped of all my glory. The wheel of fortune turns; dishonoured I fall from grace and another is raised on high. Raised to over-dizzy heights of power the king sits in majesty — but let him beware of his downfall! For ‘neath the axle of fortune’s wheel behold Queen Hecuba.

I – PRIMO VERE (Springtime) 3

Veris leta facies (small chorus)

Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono que canto celebratur. Flore fusus gremio Phobus novo more risum dat, hoc vario iam stipatur flore. Zephyrus nectareo spirans in odore; certatim pro bravio curramus in amore. Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena; salit cetus avium silve per amena, chorus promit virginum iam gaudia millena.

18 | London Philharmonic Orchestra

The joyous face of spring is presented to the world; winter’s army is conquered and put to flight. In colourful dress Flora is arrayed, and the woods are sweet with birdsong in her praise. Reclining in Flora’s lap Phoebus again laughs merrily, covered with many-coloured flowers. Zephyr breathes around the scented fragrance; eagerly striving for the prize, let us compete in love. Trilling her song sweet Philomel is heard, and smiling with flowers the peaceful meadows lie; a flock of wild birds rises from the woods; the chorus of maidens brings a thousand joys.

Omnia sol temperat (baritone)

Omnia sol temperat purus et subtilis, novo mundo reserat faciem Aprilis; ad amorem properat animus herilis, et iocundis imperat deus puerilis. Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere; vias prebet solitas, et in tuo vere fides est et probitas tuum retinere. Ama me fideliter! Fidem meam nota: de corde totaliter et ex mente tota sum presentialiter absens in remota. Quisquis amat taliter, volvitur in rota.

All things are tempered by the sun so pure and fine. In a new world are revealed the beauties of April; to thoughts of love the mind of man is turned, and in pleasure’s haunts the youthful God holds sway. Nature’s great renewal in solemn spring and spring’s example bid us rejoice; they charge us keep to well-worn paths, and in your springtime there is virtue and honesty in being constant to your lover. Love me truly! Remember my constancy. With all my heart and all my mind I am with you even when far away. Whoever knows such love knows the torture of the wheel.

Ecce gratum (chorus)

Ecce gratum et optatum ver reducit gaudia, purpuratum floret pratum, sol serenat omnia. Iamiam cedant tristia! Estas redit, nunc recedit Hyemis sevitia. Iam liquescit et decrescit grando, nix et cetera; bruma fugit, et iam sugit ver estatis ubera; illi mens est misera, qui nec vivit, nec lascivit, sub estatis dextera.

Behold the welcome, long-awaited spring, which brings back pleasure and with crimson flowers adorns the fields. The sun brings peace to all around. Away with sadness! Summer returns, and now departs cruel winter. Melt away and disappear hail, ice and snow; the mists flee, and spring is fed at summer’s breast. Wretched is the man who neither lives nor lusts under summer’s spell. London Philharmonic Orchestra | 19

Orff: Carmina Burana text contd.

Gloriantur et letantur in melle dulcedinis, qui conantur, ut untantur premio Cupidinis; simus jussu Cypridis gloriantes et letantes pares esse Paridis.

They taste delight and honeyed sweetness who strive for and gain Cupidâ&#x20AC;&#x2122;s reward. Let us submit to Venusâ&#x20AC;&#x2122;s rule, and joyful and proud be equal to Paris

UF DEM ANGER (On the Green) 6

Tanz (Dance) (orchestra)

Floret silva (chorus and small chorus)

Floret silva nobilis floribus et foliis. Ubi est antiquus meus amicus? Hinc equitavit, eia, quis me amabit? Floret silva undique, nach mime gesellen ist mir we. Gruonet der walt allenthalben, was ist min geselle alse lange? Der ist geriten hinnen, owi, wer sol mich minnen?

The noble forest Is decked with flowers and leaves. Where is my old, my long-lost lover? He rode away on his horse. Alas, who will love me now? The forest all around is in flower, I long for my lover. The forest all around is in flower, whence is my lover gone? He rode away on his horse. Alas, who will love me now?

Chramer, gip die varwe mir (boysâ&#x20AC;&#x2122; chorus and chorus)

Chramer, gip die varwe mir, die min wengel roete, damit ich die jungen man an ir dank der minnenliebe noete. Seht mich an, jungen man! Lat mich iu gevallen!

Salesman, give me coloured paint to paint my cheeks so crimson red, that I may make these bold young men, whether they will or not, love me. Look at me, young men all! Am I not well pleasing?

Minnet, tugentliche man, minnecliche frouwen! Minne tuot iu hoch gemuot unde lat iuch in hohlen eren schouwen. Seht mich an, etc. Wol dir, werit, das du bist also freudenriche! Ich wil dir sin undertan

Love, all you right-thinking men, women worthy to be loved! Love shall raise your spirits high and put a spring into your step. Look at me, etc. Hail to thee, O world that art in joy so rich and plenteous! I will ever be in thy debt

20 | London Philharmonic Orchestra

durch din liebe immer sicherliche. Seht mich an, etc.

surely for thy goodness’s sake! Look at me, etc.

Reie (Round Dance) (orchestra)

Swaz hie gat umbe (chorus) Swaz hie gat umbe, daz sint allez megede, die wellent an man alle disen sumer gan.

They who here go dancing round are young maidens all who will go without a man this whole summer long.

Chume, chum, geselle min (chorus) Chume, chum, geselle min, ih enbite harte din. Suzer rosenvarwer munt, chum un mache mich gesunt.

Come, come, dear heart of mine, I so long have waited for thee. Sweetest rosy coloured mouth, come and make me well again.

Swaz hie gat umbe (reprise) (chorus) Swaz hie gat umbe, etc.

They who here go dancing round, etc.

Were diu werlt alle min (chorus)

Were diu werlt alle min von deme mere unze an den Rin, des wolt ih mih darben, daz diu chünegin von Engellant lege an minen armen.

If the whole world were but mine from the sea right to the Rhine, gladly I’d pass it by if the Queen of England fair in my arms did lie.

II – IN TABERNA (In the Tavern) 11

Estuans interius (baritone)

Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi, similis sum folio, de quo ludunt venti. Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor

Seething inside with boiling rage, in bitterness I talk to myself. Made of matter, risen from dust, I am like a leaf tossed in play by the winds. But whereas it befits a wise man to build his house on a rock, I, poor fool,

London Philharmonic Orchestra | 21

Orff: Carmina Burana text contd.

fluvio labenti, sub eodem tramite nunquam permanenti. Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis, quero mihi similes, et adiungor pravis. Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, Que nunquam in cordibus habitat ignavis Via lata gradior more iuventutis, inplicor et vitiis, immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis.

am like a meandering river, never keeping to the same path. I drift along like a pilotless ship or like an aimless bird, carried at random through the air. No chains hold me captive, no lock holds me fast; I am looking for those like me, and I joined the depraved. The burdens of the heart seem to weigh me down; jesting is pleasant and sweeter than the honeycomb. Whatever Venus commands is pleasant toil; she never dwells in craven hearts. On the broad path I wend my way as is youthâ&#x20AC;&#x2122;s wont, I am caught up in vice and forgetful of virtue, caring more for voluptuous pleasure than for my health; dead in spirit, I think only of my skin.

Olim lacus colueram (tenor and male chorus)

Olim lacus colueram, olim pulcher extiteram â&#x20AC;&#x201D; dum cignus ego fueram. Miser, miser! Modo niger et ustus fortiter! Girat, regirat garcifer; me rogus urit fortiter: propinat me nunc dapifer. Miser, miser! etc. Nunc in saltella iaceo, et volitare nequeo, dentes frendentes video. Miser, miser! etc.

22 | London Philharmonic Orchestra

Once in lakes I made my home, once I dwelt in beauty â&#x20AC;&#x201D; that was when I was a swan. Alas, poor me! Now I am black and roasted to a turn! On the spit I turn and turn, the fire roasts me through; now I am presented at the feast. Alas, poor me! etc. Now in a serving dish I lie and can no longer fly; gnashing teeth confront me. Alas, poor me! etc.

Ego sum abbas (baritone and male chorus)

Ego sum abbas Cucaniensis, et consilium meum est cum bibulis, et in secta Decii voluntas mea est, et qui mane me quesierit in taberna, post vesperam nudus egredietur, et sic denudatus veste clamabit: Wafna, wafna! Quid feristi sors turpissima? Nostre vite gaudia abstulisti omnia! Wafna, wafna! Ha, ha!

I am the abbot of Cockaigne, and I like to drink with my friends. I belong from choice to the sect of Decius, and whoever meets me in the morning at the tavern by evening has lost his clothes, and thus stripped of his clothes cries out: Wafna, wafna! What hast thou done, oh, wicked fate? All the pleasures of this life thus to take away! Wafna, wafna! Ha, ha!

In taberna quando sumus (male chorus)

In taberna quando sumus, non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus. Quid agatur in taberna, ubi nummus est pincerna, hoc est opus ut queratur, si quid loquar, audiatur. Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. Sed in ludo qui morantur, ex his quidam denudante, quidam ibi vestiuntur, quidam saccis induuntur. Ibi nullus timet mortem, sed pro Bacho mittunt sortem. Primo pro nummata vini; ex hac bibunt libertini, semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis, quinquies pro fidelibus defunctis, sexies pro sororibus vanis, septies pro militibus silvanis. Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, undecies pro discordantibus, duodecies pro penitentibus, tredecies pro iter angentibus. Tarn pro papa quam pro rege bibunt omnes sine lege.

When we are in the tavern we spare no thought for the grave, but rush to the gaming tables where we always sweat and strain. What goes on in the tavern, where a coin gets you a drinkâ&#x20AC;&#x201D; if this is what you would know, then listen to what I say. Some men gamble, some men drink, some indulge in indiscretions. But of those who stay to gamble, some lose their clothes, some win new clothes, while others put on sack cloth. There no one is afraid of death, but for Bacchus plays at games of chance. First the dice are thrown for wine; this the libertines drink. Once they drink to prisoners, then three times to the living, four times to all Christians, five to the faithful departed, six times to the dissolute sisters, seven to the bush-rangers. Eight times to the delinquent brothers, nine to the dispersed monks, ten times to the navigators, eleven to those at war, twelve to the penitent, thirteen to travellers. They drink to the Pope and king alike, all drink without restraint. London Philharmonic Orchestra | 23

Orff: Carmina Burana text contd.

Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servus cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudus, bibit magus. Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater; bibit ista, bibit ille, bibunt centum, bibunt mille. Parum sexcente nummate durant, cum immoderate bibunt omnes sine meta. Quamvis bibant mente leta, sic nos rodunt omnes gentes, et sic erimus egentes. Qui nos rodunt confundantur et cum iustis non scribantur.

The mistress drinks, the master drinks, the soldier drinks, the man of God, this man drinks, this woman drinks, the manservant with the serving maid, the quick man drinks, the sluggard drinks, the white man and the black man drink, the steady man drinks, the wanderer drinks, the simpleton drinks, the wise man drinks. The poor man drinks, the sick man drinks, the exile drinks and the unknown, the boy drinks, the old man drinks, the bishop drinks and the deacon, sister drinks and brother drinks, the old crone drinks, the mother drinks, this one drinks, that one drinks, a hundred drink, a thousand drink. Six hundred coins are not enough when all these drink too much, and without restraint. Although they drink cheerfully, many people censure us, and we shall always be short of money. May our cries be confounded and never be numbered among the just.

III — COUR D’AMOURS (Court of Love) 15

Amor volat undique (soprano and boys’ chorus)

Amor volat undique, captus est libidine. Iuvenes, iuvencule coniunguntur merito. Siqua sine socio, caret omni gaudio; tenet noctis infirma sub intimo cordis in custodia: fit res amarissima.

Love flies everywhere and is seized by desire. Young men and women are matched together. If a girl lacks a partner, she misses all the fun; in the depths of her heart is darkest night: it is a bitter fate.

Dies, nox et omnia (baritone)

Dies, nox et omnia mihi sunt contraria, virginum, colloquia me fay planszer, oy suvenz suspirer, plu me fay temer. 24 | London Philharmonic Orchestra

Day, night and all the world are against me, the sound of maidens’ voices makes me weep. I often hear sighing, and it makes me more afraid.

O sodales, ludite, vos qui scitis dicite, michi mesto parcite, grand ey dolur, attamen consulite per voster honur. Tua pulchra facies, me fey planszer milies, pectus habet glacies, a remender statim vivus fierem per un baser.

Stetit puella (soprano)

Stetit puella rufa tunica; si quis earn tetigit, tunica crepuit. Eia, eia. Stetit puella, tamquam rosula; facie splenduit, os eius floruit. Eia, eia.

O friends, be merry, say what you will, but have mercy on me, a sad man, for great is my sorrow, yet give me counsel for the sake of your honour. Your lovely face makes me weep a thousand tears because your heart is of ice, but I would be restored at once to life by one single kiss.

There stood a young girl in a red tunic; if anyone touched her, the tunic rustled. Heigho, heigho. There stood a girl fair as a rose; her face was radiant, her mouth like a flower. Heigho, heigho.

Circa mea pectora (baritone and chorus)

Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere. Manda liet, manda liet, min geselle chumet niet. Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris. Manda liet, etc. Vellut deus, vellent dii quod mente proposui: ut eius virginea reserassem vincula. Manda liet, etc.

My breast is filled with sighing for your loveliness, and I suffer grievously. Manda liet, manda liet, my sweetheart comes not. Your eyes shine like sunlight, like the splendour of lightning in the night. Manda liet, etc. May God grant, may the gods permit the plan I have in mind: to undo the bonds of her virginity. Manda liet, etc.

London Philharmonic Orchestra | 25

Orff: Carmina Burana text contd.

Si puer cum puellula (baritone and male chorus)

Si puer cum puellula moraretur in cellula, felix coniunctio. Amore sucrescente, pariter e medio avulso procul tedio, fit ludus ineffabilis membris, lacertis, labiis.

Veni, veni, venias (double chorus)

Veni, veni, venias, ne me mori facias, hyrca, hyrca, nazaza trillirivos ... Pulchra tibi facies, oculorum acies, capillorum series, oh, quam clara species! Rosa rubicundior, lilio candidior, omnibus formosior, semper in te glorior!

Come, come, pray come, do not let me die, hyrca, hyrca, nazaza, trillirivos ... Lovely is your face, the glance of your eyes, the braids of your hair, oh, how beautiful you are! Redder than the rose, whiter than the lily, comelier than all the rest; always I shall glory in you.

In trutina (soprano)

In trutina mentis dubi fluctuant contraria lascivus amor et pudicitia. Sed eligo quod video, collum iugo prebeo: ad iugum tarnen suave transeo.

If a boy and a girl linger together, happy is their union. Increasing love leaves tedious good sense far behind, and inexpressible pleasure fills their limbs, their arms, their lips.

On the scales of my wavering indecision physical love and chastity are weighed. But I choose what I see, I bow my head in submission and take on the yoke which is after all sweet.

Tempus est iocundum (soprano, baritone, chorus and boysâ&#x20AC;&#x2122; chorus)

Tempus est iocundum, O virgines; modo conguadete, vos iuvenes. Oh, oh, oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Mea me confortat 26 | London Philharmonic Orchestra

Pleasant is the season, O maidens; now rejoice together, young men. Oh, oh, oh, I blossom, now with pure love I am on fire! This love is new, new, of which I perish. My love brings me comfort

promissio, mea me deportat negatio. Oh, oh, etc. Tempore brumali vir patiens, animo vernali lasciviens. Oh, oh, etc. Mea mecum ludit virginitas, mea me detrudit simplicitas. Oh, oh, etc. Veni, domicella, cum gaudio, veni, veni, pulchra, iam, pereo. Oh, oh, etc.

23 Dulcissime (soprano) Dulcissime, ah, totam tibi subdo me!

when she promises, but makes me distraught with her refusal. Oh, oh, etc. In winter time the man is lazy, in the spring he will turn amorous. Oh, oh, etc. My chastity teases me, but my innocence holds me back! Oh, oh, etc. Come, my darling, come with joy, come, my beauty, for already I die! Oh, oh, etc.

Sweetest boy, ah, I give my all to you!

BLANZIFLOR ET HELENA (Blanchefleur and Helen) 24

Ave formosissima (chorus)

Ave formosissima, gemma pretiosa, , ave decus virginum, virgo gloriosa, ave mundi luminar, ave mundi rosa, Blanziflor et Helena, Venus generosa.

Hail to thee, most lovely, most precious jewel hail pride of virgins, most glorious virgin! Hail, light of the world, hail, rose of the world! Blanchefleur and Helen, noble Venus, hail!

FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) 25

O Fortuna (chorus)

O fortuna! velut luna, etc.

O fortune! Like the moon, etc.

ÂŠ 1937 Schott Music GmbH & Co. KG, Mainz. ÂŠ Renewed 1965.

London Philharmonic Orchestra | 27

GET

closer

next lpo concerts

AT Southbank Centreâ&#x20AC;&#x2122;s Royal Festival Hall

friday 19 october 2018 7.30pm

wednesday 24 october 2018 7.30pm

saturday 27 october 2018 7.30pm

Glinka Overture, Ruslan and Ludmilla Rachmaninoff Piano Concerto No. 2 Tchaikovsky Symphony No. 5

Berlioz Roman Carnival Overture Canteloube Selection from Songs of the Auvergne Bizet Symphony in C Gershwin An American in Paris

Rossini Petite messe solennelle

Alondra de la Parra conductor Benjamin Grosvenor piano

Enrique Mazzola conductor Anna Caterina Antonacci soprano

Gustavo Gimeno conductor Elizabeth Watts soprano Sara Mingardo contralto Kenneth Tarver tenor Luca Pisaroni bass-baritone London Philharmonic Choir

Concert generously supported by Dior Concert generously supported by Dior

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

28 | 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 & 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

London Philharmonic Orchestra | 29

Thank you

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

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

Sally Groves & Dennis Marks Robert Markwick & Kasia Robinski Melanie Ryan Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt Silver Patrons Dr Christopher Aldren Peter Blanc Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Will & Kate Hobhouse Matt Isaacs & Penny Jerram John & Angela Kessler The Metherell Family Simon Millward Mikhail Noskov & Vasilina Bindley Susan Wallendahl Guy & Utti Whittaker

Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Jacopo Pessina Mr Roger Phillimore Mr Michael Posen Tatiana Pyatigorskaya Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr Christopher Stewart Mr & Mrs John C Tucker Andrew & Rosemary Tusa Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Christopher Williams Ed & Catherine Williams Mr Anthony Yolland

Bronze Patrons Anonymous donors Michael Allen Andrew Barclay Mr Geoffrey Bateman Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel Mr John L G Deacon David Ellen Ignor & Lyuba Galkin Mrs Irina Gofman David Goldberg Mr Daniel Goldstein David & Jane Gosman Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Catherine Hogel & Ben Mardle J Douglas Home Mr James R. D. Korner Rose & Dudley Leigh

Principal Supporters Ralph & Elizabeth Aldwinckle Margot Astrachan Mr Philip Bathard-Smith Mr Edwin Bisset Dr Anthony Buckland Mr & Mrs Stewart Cohen Sir Alan Collins KCVO David & Liz Conway Mr Alistair Corbett Mrs Alina Davey Guy Davies Henry Davis MBE Mr Richard Fernyhough Patrice & Federica Feron Ms Kerry Gardner Malcolm Herring Ivan Hurry Per Jonsson Mr Ralph Kanza Ms Katerina Kashenceva Vadim & Natalia Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Christopher Little

30 | London Philharmonic Orchestra

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

Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson 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) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (China/Hong Kong) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen)

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

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

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

London Philharmonic Orchestra | 31

Administration

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

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Manager