London Philharmonic Orchestra 14 February 2016 Eastbourne concert programme by London Philharmonic Orchestra

Congress Theatre, Eastbourne Concert programme 2015/16 Season lpo.org.uk

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 Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Congress Theatre, Eastbourne Sunday 14 February 2016 | 3.00pm

Nielsen Helios Overture (12’) Schumann Piano Concerto in A minor (31’) Interval Sibelius Symphony No. 5 in E flat (31’)

Programme £2.50 Contents 2 Welcome Orchestra news 3 On stage today 4 About the Orchestra 6 Christian Kluxen 7 Jayson Gillham 8 Programme notes 11 Recommended recordings 12 2015/16 Eastbourne Appeal Recent CD releases 13 Next LPO Eastbourne concerts 14 Sound Futures donors 15 Supporters 16 LPO administration The timings shown are not precise and are given only as a guide.

Christian Kluxen conductor Jayson Gillham piano

The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for this performance is supplied and maintained by Steinway & Sons, London.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL

Welcome

Orchestra news

Welcome to the Congress Theatre, Eastbourne

New Rachmaninoff release on the LPO Label Just released on the LPO Label is a disc of Rachmaninoff's Third Symphony and 10 Songs, conducted by Vladimir Jurowski and featuring tenor Vsevolod Grivnov (LPO-0088). These recordings were taken from a live LPO concert performance at Royal Festival Hall on 29 April 2015. The arrangements of the 10 Songs were made by Jurowski’s grandfather, also called Vladimir (1915–72), whose first experience of Rachmaninoff’s music was in Russia after the Second World War. The disc is priced £9.99: see page 12 for purchasing details.

Artistic Director Chris Jordan General Manager Gavin Davis Welcome to this afternoon’s performance by the London Philharmonic Orchestra. We hope you enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones and watch alarms are switched off during the performance. Thank you. We are delighted and proud to have the London Philharmonic Orchestra reside at the Congress Theatre for the 19th year. Thank you, our audience, for continuing to support the concert series. Without you, these concerts would not be possible. We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email theatres@eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

Latest tour news Next week a quintet of LPO brass players will be jetting off to the Caribbean, where they have been invited to perform at the Cayman Arts Festival in Grand Cayman. The concert programme on Thursday 18 February at the First Baptist Church in the capital, George Town, will include works by Clarke, Gabrieli, Mozart and Horovitz as well as British and American folk song arrangements, and will also feature the Cayman National Choir. Earlier in the week our musicians will lead a workshop with young brass players at a local school and will attend a reception at the Governor's House. lpo.org.uk/tours

Glyndebourne 2016 Each summer the Orchestra bids a fond farewell to the Royal Festival Hall and heads for Glyndebourne Festival Opera, where it is Resident Symphony Orchestra. This summer Glyndebourne’s contributions to the 'Shakespeare400' anniversary year are a production of Britten’s A Midsummer Night’s Dream – a revival of the 1981 production directed by Peter Hall – and a new production of Berlioz’s Béatrice et Bénédict. Also featuring this year is Wagner’s Die Meistersinger von Nürnberg with conductor Robin Ticciati. The other operas with the LPO are Rossini’s Il barbiere di Siviglia and Janáček’s The Cunning Little Vixen. Public booking opens on 7 March. glyndebourne.com

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On stage today

First Violins Vesselin Gellev Leader Martin Hรถhmann Chair supported by The Jeniffer and Jonathan Harris Charitable Trust

Grace Lee Rebecca Shorrock Galina Tanney Maeve Jenkinson Georgina Leo Kate Cole John Dickinson Anna Croad Jacqueline Roche Caroline Simms Second Violins Andrew Storey Principal Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Joseph Maher Sioni Williams Harry Kerr Mila Mustakova Elizabeth Baldey Violas Julia Neher Guest Principal Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Daniel Cornford

Cellos Pei-Jee Ng Principal David Lale Elisabeth Wiklander Chair supported by The Viney Family

Susanna Riddell Helen Rathbone Alex Barnes Double Basses George Peniston Principal Laurence Lovelle Lowri Morgan Charlotte Kerbegian Flutes Harry Winstanley Guest Principal Clare Childs Stewart McIlwham* Piccolo Stewart McIlwham* Principal Chair supported by Friends of the Orchestra

Oboes Alun Darbyshire Guest Principal Lydia Griffiths Clarinets Robert Hill* Principal Thomas Watmough

Horns Nicholas Korth Guest Principal Stephen Craigen Duncan Fuller Gareth Mollison James Pillai Trumpets Nicholas Betts Principal Toby Street Trombones David Whitehouse Principal Simon Baker Bass Trombone Sam Freeman Tuba George Ellis Guest Principal

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: An anonymous donor Jon Claydon Andrew Davenport William & Alex de Winton Geoff & Meg Mann Simon Robey Caroline, Jamie & Zander Sharp Laurence Watt Neil Westreich

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

Bassoons Simon Estell Principal Emma Harding

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

‘It was one of those unforgettable evenings where everything and everyone performed beautifully [with] an extraordinary performance by the London Philharmonic ... The ovation should have been standing.’ Andrew Collins, The News, March 2015 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 community groups. 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 currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives over 30 concerts each season. Throughout 2014/15 the Orchestra gave a series of concerts entitled Rachmaninoff: Inside Out, a festival exploring the composer’s major

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orchestral masterpieces. 2015/16 is a strong season for singers, with performances by Toby Spence and Anne Sofie von Otter amongst others; Sibelius enjoys 150th anniversary celebrations; distinguished visiting conductors include Stanisław Skrowaczewski, JukkaPekka Saraste and Vasily Petrenko, with Robin Ticciati returning after his debut in 2015; and in 2016 the LPO joins many of London’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400 years since his death. The Orchestra continues its commitment to new music with premieres of commissions including Magnus Lindberg’s Second Violin Concerto and Alexander Raskatov’s Green Mass. 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

Vesselin Gellev 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 90 releases available on CD and to download. Recent additions include Rachmaninoff's Symphony No. 3 and 10 Songs under Vladimir Jurowski, and archive recordings of Mahler Symphonies and Beethoven’s Symphony No. 5 conducted by Klaus Tennstedt. 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 Orchestra’s life: highlights of the 2015/16 season include visits to Mexico City as part of the UK Mexico Year of Culture, Spain, Germany, the Canary Islands, Belgium, a return to the Concertgebouw, Amsterdam and the Orchestra’s debut at La Scala, Milan.

Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammynominated Absolute Ensemble. Vesselin has performed as Guest Leader with orchestras including the Royal Philharmonic Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra and the Accademia Nazionale di Santa Cecilia. Vesselin studied at The Juilliard School, and joined the London Philharmonic Orchestra as Sub-Leader in 2007.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. 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 a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7 instagram.com/londonphilharmonicorchestra

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Christian Kluxen conductor

Charismatic, confident and impressively competent.

The Scotsman

Since completing his three-year tenure as Assistant Conductor of the Royal Scottish National Orchestra in 2013, Christian Kluxen has developed an impressive career, quickly becoming recognised for his fine conducting talent. His success is built upon a mature, intelligent approach to music-making, artistic integrity and a charismatic presence on the podium.

Other recent appearances in Europe have included the Gothenburg Symphony, Trondheim Symphony, Georgian Philharmonic and RTÉ National Symphony orchestras. Kluxen conducted Kremerata Baltica at the prestigious Kronberg Academy Festival in 2013, and has worked frequently with the Duisburg Philharmonic and Philharmonie Südwestfalen.

During the 2014/15 season Christian Kluxen held the post of Dudamel Fellow at the Los Angeles Philharmonic, conducting key educational concerts at Walt Disney Concert Hall. Meanwhile, he returned to the Philharmonia Orchestra for engagements in two of the Orchestra’s regional series in Canterbury and Torquay, and made his debut with the Netherlands Philharmonic at Amsterdam’s Concertgebouw.

Born in 1981 in Copenhagen to Danish-German parents, Christian Kluxen has three times been presented with the Arne Hammelboe Scholarship by the Danish Conductors Association. In 2011 the Danish Richard Wagner Society awarded him the Bayreuth Bursary and in 2013 he was awarded the Gladsaxe Music Prize.

Today is his debut with the London Philharmonic Orchestra. The current season also sees debuts with the Royal Northern Sinfonia at Sage Gateshead, Norrköping Symphony Orchestra in Sweden and Victoria Symphony in Canada. Kluxen returns to the Strasbourg Philharmonic Orchestra and conducts Puccini’s Madam Butterfly on an extensive tour with Danish National Opera; this follows his debut in 2012 when he led a new production of Mozart’s Don Giovanni. Kluxen’s connections with his home country maintain a meaningful place in his career; he has worked extensively throughout Denmark, and made his Danish National Symphony Orchestra debut in 2013, as well as maintaining regular relationships with the Copenhagen Philharmonic, South Denmark Philharmonic and Odense Symphony orchestras, all of which he visits in the current season.

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kluxen.dk

Jayson Gillham piano

Jayson Gillham earned his win with absorbing and relentless elegance. © Andy Holdsworth Photography

The Montreal Gazette (2014 Montreal International Music Competition)

London-based Australian pianist Jayson Gillham has emerged as one of the finest musicians of his generation. Since winning both the First Prize and the Audience Prize at the 2014 Montreal International Music Competition, Gillham has seen his career flourish – from the three-album record deal with ABC Classics, performing with the Jerusalem Quartet at the Verbier Festival and multiple recitals at the Louvre Auditorium in Paris, to recognition from conductors including Vladimir Ashkenazy, Sir Mark Elder, Asher Fisch and Jeffrey Tate. Jayson will return to the London Philharmonic Orchestra next month to perform Rachmaninoff's Piano Concerto No. 2 with the Orchestra at Royal Festival Hall. Other concerto highlights in 2016 include performances of Beethoven’s Piano Concerto No. 4 with the Nashville Symphony (conducted by Asher Fisch) and the Sydney Symphony (under Vladimir Ashkenazy) at the Sydney Opera House, and the Piano Concerto No. 3 with the Adelaide Symphony under Jeffrey Tate. This year will also see the release of Gillham's debut ABC Classics disc: a recital featuring works by Bach, Schubert and Chopin. Forthcoming recital highlights include the Perth International Arts Festival; Medici Concerts at the Queensland Performing Arts Centre; Angel Place in Sydney; and a recital in the Elisabeth Murdoch Hall at the Melbourne Recital Centre. Jayson performs across the globe, with recent and future highlights including concerto engagements with the Hallé; the English Chamber Orchestra at Royal Festival Hall; the Melbourne, Adelaide and Queensland symphony orchestras; the Orchestre symphonique de Montréal; the Orchestra Filarmonica Marchigiana and the Wuhan Philharmonic. In recital, Jayson performs at

some of the world’s most prestigious venues including London's Wigmore Hall and the Louvre Auditorium, amongst others. Festival highlights include the Verbier Festival, Edinburgh Fringe, Brighton Festival, Linari Classic Festival (Tuscany), Two Moors Festival, Norfolk and Norwich Festival, Deia International Music Festival (Majorca), and the Bangalow and Tyalgum Music festivals (Australia). Chamber music forms an important part of Jayson’s career, with highlights including performances with the Jerusalem, Carducci, Brentano, Ruysdael and Flinders string quartets. A graduate of the Queensland Conservatorium of Music, where he studied with Leah Horwitz, Jayson relocated to London in 2007 to pursue a Master’s degree at the Royal Academy of Music (RAM) with Christopher Elton. He is grateful to the Australian Music Foundation, the Tait Memorial Trust and The Keyboard Trust for their steadfast support over several years. In 2012 Jayson was named Commonwealth Musician of the Year and Gold Medallist of the prestigious Royal Over-Seas League 60th Annual Music Competition. jaysongillham.co.uk facebook.com/jaysongillham twitter.com/jaysongillham

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Programme notes

Speedread New Year’s Day begins the same way each year in Denmark: with a radio broadcast of Carl Nielsen’s depiction of a dawn sunrise, the music that opens his Helios Overture. In the early part of his career, the sun was a source of particular inspiration for Nielsen. From it came the energy that fed life itself, an energy that would power his music forward. But it was also tied up in the Danish composer’s youth, as he toiled beneath its rays in the fields and yards of his home island, Funen. Nature pervades all Nordic art, and it affected Finnish composer Jean Sibelius every bit as much as it did Nielsen. Depressed, worried and ill, Sibelius stepped

Carl Nielsen

out onto his veranda on 12 April 1914 and saw a flock of sixteen swans soaring upwards from the lake for their migration. The swans’ majestic flight, in all its majesty, grandeur and wonder, became the central theme of his Fifth Symphony. In between, we hear a Romantic piano concerto whose inspiration was rather more human. Robert Schumann wrote his Piano Concerto as a love letter to his beloved wife Clara. The Concerto isn’t just one of the most delicate and perfect of the romantic period; it’s also a touching insight into one of the most passionate romances of the 19th century.

Helios Overture, Op. 17

1865–1931

In April 1903 Carl Nielsen and his sculptress wife Anne-Marie were in Athens, stocking up on sunshine following the dark Danish winter. In a room overlooking the Aegean Sea, Nielsen designed an overture that would depict the journey of the sun from dawn to dusk. ‘The sun rises to joyful songs of praise, wanders its golden way, and sinks silently into the sea’, wrote the composer of his new work, the Helios Overture. Nielsen needn’t have gone to Athens to experience the concept of sun-worship; the revival of ancient Greek ideas had made it as far as his own Danish island, Funen, with its long, distinctive views across flat, nondramatic landscapes. The Nordic region was awash with notions of nature, health and physical wellbeing at the start of the 20th century but Danish ‘Hellenism’ 8 | London Philharmonic Orchestra

added something else: the idea of an artistic re-birth, a radiant sunrise of creativity. Nielsen’s career would prove a central element of that awakening, and Helios would form the start of his nine-year obsession with solar energy that culminated in the Third Symphony. But the Overture became something of a touchstone for Denmark, too: it’s still the first piece of music played on Danish radio each new year, and its radiant freshness, built on Nielsen’s preference for plain, powerful harmonies built on intervals of the third and fifth, demonstrates why. The Overture is born of a dark void, a low, held note, C, from which first light appears courtesy of the softest of horn calls. Eventually the horns arrive at a choralelike theme that soars above the orchestra – the arrival

of dawn, perhaps – before the orchestra brings the colour and activity of day. After violins initiate a scurrying fugue, the orchestra suddenly retreats, and the sun, softer than in the morning, dips behind the oceanic horizon once more. Programme note © Andrew Mellor

Robert Schumann 1810–1856

Schumann’s Piano Concerto is one of his finest largescale creations. It feels as though it must have been conceived in a single flight of poetic invention. In fact it was written in two completely separate instalments, and at two very different periods in Schumann’s life. The first movement originally appeared as a self-sufficient ‘Fantasie’ for piano and orchestra in 1841 – the year that also saw the composition of the First Symphony, the original version of the Fourth, and the orchestral Overture, Scherzo and Finale. Schumann’s long-awaited marriage to the brilliant concert pianist Clara Wieck the previous year had, it seems, released a torrent of creativity. Then, in 1844, after Schumann and Clara had returned from a concert tour of Russia, Schumann experienced a crippling mental breakdown, followed by a terrible plunge into depression. At the end of the year he and Clara moved to Dresden with their two children, where gradually Schumann’s spirits began to recover. For a long time Schumann was unable to compose, but by the end of 1845 he completed his Symphony No. 2, a work that bears witness to his struggles to regain stability. And just before he started the Symphony, Schumann added two more movements to the ‘Fantasie’, thus transforming it into the Piano Concerto. How long the ideas for these two movements had been incubating in his mind is impossible to say, but it is certain that the

Piano Concerto in A minor Jayson Gillham piano 1 Allegro affettuoso 2 Intermezzo: Andantino grazioso – 3 Allegro vivace

act of putting them to paper was a major step forward on his road to psychological recovery. The result was one of Schumann’s most daring and romantically delightful works. The piano’s downwardplunging opening gesture – after a single incisive chord from the full orchestra – is unlike the beginning of any concerto before. It clearly left a strong impression on the composer Edvard Grieg, who began his famous Piano Concerto (also in A minor) with a strikingly similar gesture. And although Schumann’s first movement appears to be full of melodic ideas, most of these derive directly from the wind-piano tune that follows that dramatic opening: so much so that the movement has been described as ‘monothematic’ – also very unusual for an early 19th-century concerto. But it is the dream-like quality Schumann brings to this musical argument that is most original of all. The piano writing may be challenging, but the real challenge is to the player’s poetic imagination. Even the first movement’s solo cadenza is more like a meditation than a bravura display. In general the relationship between the piano and the orchestra is neither as one-sided nor as competitive as in most romantic concertos. Tender intimacy is much more typical. A couple of years before Continued overleaf London Philharmonic Orchestra | 9

Programme notes continued

he began the first movement, Schumann had written of his hope that a new kind of ‘genius’ might soon emerge: one ‘who will show us in a newer and more brilliant way how orchestra and piano may be combined, how the soloist, dominant at the keyboard, may unfold the wealth of his instrument and his art, while the orchestra, no longer a mere spectator, may interweave its manifold facets into the scene.’ In the Piano Concerto he fulfilled his own prophecy. The chamber-like intimacy continues through the gentle Intermezzo Schumann placed as the Concerto’s second movement – and again the way in which one

motif seems to unfold from another is achieved with great subtlety. Just before the end of the movement comes a wonderful inspiration. Clarinets and bassoons recall the seminal first phrase of the first movement’s original melody – first in the major key, then in the minor – while the piano adds magical liquid figurations (as though dreamily recalling the Concerto’s arresting opening). Then the finale launches suddenly into an exhilarating, seemingly unstoppable waltz. It is hard to believe that the man who wrote this gloriously alive dance music was at the time emerging from chronic depression. The ending in particular sounds like an outpouring of the purest joy. Programme note © Stephen Johnson

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

Jean Sibelius

Symphony No. 5 in E flat 1 Tempo di moderato – Allegro moderato 2 Andante mosso, quasi allegretto 3 Allegro molto – Un pochettino largamente

1865–1957

In the early 1910s, Sibelius could add to his own personal financial and health problems those of Finland itself. Russia was attempting to strengthen its grip on the province, suspending the parliament and attempting to drive out the Finnish language. As Europe slipped towards the First World War, Finland, aligned with Russia, faced not only mass slaughter but also the annihilation of its timber-exporting industry. It’s a mark of his humanity and nationalism that Sibelius was so depressed and terrified at this prospect. ‘In a deep mire again, but already I begin to see dimly the mountain that I shall ascend’, he wrote as the outbreak of war approached, ‘God opens His door for a moment and His orchestra plays the Fifth Symphony.’

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Despite Sibelius’s depression, the prevailing mood of the new symphony would represent a distinct thawing from the cold darkness of the Fourth. Sibelius was planning it in his mind: themes were to involve the onset of spring, and the spirit of the composer’s country home at Järvenpää. Then, on 12 April 1914, the Symphony’s genesis was rubber-stamped. Sibelius witnessed a sight that would affect him deeply and almost write the Fifth Symphony’s main theme for him. It was a flock of sixteen swans, soaring slowly upwards from the Järvenpää lake for their migration. Sibelius was profoundly moved by the sighting. ‘One of my greatest experiences’, he wrote in his diary, ‘the Fifth Symphony’s final theme – legato in the trumpets.’

The semi-programmatic nature implied by the swans prompted Sibelius to abandon sonata form for the first time in his symphonic oeuvre, though the feeling of development towards a thematic goal is triumphantly retained. There were originally four movements at the time of the first performance in Helsinki on 8 December 1915, Sibelius later telescoping his first movement and scherzo into the eventual opening movement. The Symphony opens with a glowing theme on horns and woodwind, followed by typically Sibelian woodwind activity in thirds. After the entry of the strings the music gains momentum and folds outwards, two halves of the orchestra falling over themselves in contrary motion towards the proclamation of a major-fourth by the trumpet. After the violins have worked furiously stepping through a series of adjacent notes (another Sibelius hallmark) the opening motif soon appears again, returning in another form as the Symphony is injected with optimism by an upward-pining theme in the trumpets. As it goes on to incorporate themes from Sibelius’s original scherzo, the movement gathers pace for a spirited conclusion.

Recommended recordings of this afternoon's works Nielsen: Helios Overture Danish National Radio Symphony Orchestra | Gennady Rozhdestvensky [Chandos] Schumann: Piano Concerto Leif Ove Andsnes| Berlin Philharmonic | Mariss Jansons [EMI, now Warner] Sibelius: Symphony No. 5 London Philharmonic Orchestra | Paavo Berglund [LPO Label LPO-0065: see right]

Sibelius’s Andante is based on a five-note rhythm that almost becomes the basis for a set of variations. In contrast, the final movement begins with frightened, scurrying strings. Soon enough one detects a spacious idea growing from the bottom of the orchestral texture: it begins with the spelling out in the double basses of a fifth, augmenting as the bottom note drops twice, stepping back up in the manner of an ostinato; here are the Järvenpää swans. As it’s taken up by the horns, the theme gains the pace and grandeur of flight, like the graceful rise and fall of a feathered wing. Then the music suddenly shifts key: Sibelius’s pedal-note disappears like the falling away of a runway, and the swans – magically, gloriously – take flight. After more intricate woodwind writing, the swans can be seen in the distance, returning as if to bid Sibelius a final farewell. Again, they soar inspiringly upwards, cutting through a tangling orchestral texture as if to break free from their creator’s earthly concerns, before six resigned and valedictory orchestral jabs bid them a final earthly farewell. Programme note © Andrew Mellor

Sibelius's Symphony No. 5 on the LPO Label Sibelius: Symphonies Nos. 5 & 6 The Swan of Tuonela Paavo Berglund conductor LPO–0065 £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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London Philharmonic Orchestra 2015/16 Eastbourne Appeal The London Philharmonic Orchestra is extremely proud of its longstanding relationship with Eastbourne and we hope that you have enjoyed this season’s concerts so far. As you may be aware, this year’s Eastbourne Appeal aims to secure support towards the Orchestra’s educational activities, ensuring that young people – particularly those in under-resourced areas – have the opportunity to access their first orchestral experience. With no funding for education work included in our annual public grant there is a critical need to secure funding for such initiatives. We would like to ask our Eastbourne audiences to help us underwrite the cost of 650 tickets by making a contribution to our 2015/16 Eastbourne Appeal. Any donation, large or small, is highly valued by us, and just £9 can enable one child to attend a concert. To donate, please visit lpo.org.uk/eastbourneappeal or contact Helen Yang on 020 7840 4225 or helen.yang@lpo.org.uk. We have currently reached over half of our goal and would like to thank those of you who have already given so generously to this year’s Appeal.

Recent releases on the LPO label Rachmaninoff: Symphony No. 3 10 Songs

Beethoven: Coriolan Overture Symphony No. 5

Klaus Tennstedt conductor A BBC recording £6.99 | LPO-0087

Vladimir Jurowski conductor Vsevolod Grivnov tenor £9.99 | LPO-0088

Browse the catalogue and sign up for updates at lpo.org.uk/recordings Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Available to download or stream online via iTunes, Spotify, Amazon and others.

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Remaining concerts this season at Congress Theatre, Eastbourne Sunday 6 March 2016 | 3.00pm Medtner Piano Concerto No. 2 Tchaikovsky Symphony No. 3 Vladimir Jurowski conductor Marc-André Hamelin piano

Sunday 17 April 2016 | 3.00pm De Falla The Three-cornered Hat (Suite No. 2) Rodrigo Fantasía para un gentilhombre* Prokofiev Romeo and Juliet (excerpts) Jaime Martín conductor Miloš Karadaglić guitar *Please note a change to the work from originally advertised

Tickets £13–£29 plus £1 postage per booking. Box Office 01323 412000 Book online at eastbournetheatres.co.uk

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 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 Robert Markwick & Kasia Robinski The Rind Foundation The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

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Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Lady 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 Queree 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

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Neil Westreich William and Alex de Winton Mrs Philip Kan* Simon Robey Victoria Robey OBE Bianca & Stuart Roden Laurence Watt Anonymous Jon Claydon Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller The Jeniffer and Jonathan Harris Charitable Trust Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds* Eric Tomsett The Viney Family John & Manon Antoniazzi Jane Attias David Goldstone CBE LLB FRICS John & Angela Kessler Guy & Utti Whittaker * BrightSparks Patrons: instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

Principal Benefactors Mark & Elizabeth Adams David & Yi Yao Buckley Desmond & Ruth Cecil Mr John H Cook Mr Bruno de Kegel David Ellen Mr Daniel Goldstein Drs Frank & Gek Lim Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Virginia Slaymaker Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mr Geoffrey Bateman Mrs A Beare Ms Molly Borthwick David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Gavin Graham Wim and Jackie Hautekiet-Clare Tony & Susan Hayes Mr Daniel Heaf and Ms Amanda Hill Michael & Christine Henry Malcolm Herring J. Douglas Home

Ivan Hurry Mr Glenn Hurstfield Per Jonsson Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Ms Ulrike Mansel Mr Robert Markwick and Ms Kasia Robinski Mr Brian Marsh Andrew T Mills Dr Karen Morton Mr & Mrs Andrew Neill Mr Roger Phillimore Mr James Pickford Mr Michael Posen Alexey & Anastasia Reznikovich Mr Konstantin Sorokin Martin and Cheryl Southgate Mr Peter Tausig Lady Marina Vaizey Simon and Charlotte Warshaw Howard & Sheelagh Watson Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: Accenture Berenberg Carter-Ruck We are AD Bronze: Appleyard & Trew LLP BTO Management Consulting AG Charles Russell Speechlys Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations Angus Allnatt Charitable Foundation Axis Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust The Candide Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute The Peter Minet Trust

The Ann and Frederick O’Brien Charitable Trust Office for Cultural and Scientific Affairs of the Embassy of Spain in London The Austin and Hope Pilkington Trust The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous

London Philharmonic Orchestra | 15

Administration Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Roger Barron Richard Brass Desmond Cecil CMG Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rachel Masters* George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Laurence Watt Neil Westreich David Whitehouse* * Player-Director

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director (maternity leave)

Alison Atkinson Digital Projects Director

Amy Sugarman PA to the Chief Executive / Administrative Assistant

Clare Lovett Education Director (maternity cover)

Finance

Talia Lash Education and Community Project Manager

Albion Media (Tel: 020 3077 4930)

Lucy Sims Education and Community Project Manager

Philip Stuart Discographer

David Burke General Manager and Finance Director David Greenslade Finance and IT Manager Dayse Guilherme Finance Officer

Richard Mallett Education and Community Producer

Concert Management

Development

Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter

Roanna Gibson Concerts Director

Nick Jackman Development Director

Graham Wood Concerts and Recordings Manager

Catherine Faulkner Development Events Manager

American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Damian Davis Transport Manager

Jenny Chadwick Tours Manager Tamzin Aitken Glyndebourne and UK Engagements Manager Alison Jones Concerts and Recordings Co-ordinator

Kathryn Hageman Individual Giving Manager Laura Luckhurst Corporate Relations Manager Anna Quillin Trusts and Foundations Manager Rebecca Fogg Development Co-ordinator

Jo Cotter Tours Co-ordinator

Helen Yang Development Assistant

Orchestra Personnel

Kirstin Peltonen Development Associate

Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians (job-share) Christopher Alderton Stage Manager

Madeleine Ridout Assistant Orchestra Personnel Manager

16 | London Philharmonic Orchestra

Marketing Kath Trout Marketing Director Libby Northcote-Green Marketing Manager Rachel Williams Publications Manager Samantha Cleverley Box Office Manager (Tel: 020 7840 4242) Anna O’Connor Marketing Co-ordinator Natasha Berg Marketing Intern

Matthew Freeman Recordings Consultant Public Relations