London Philharmonic Orchestra 15 April 2016 concert programme by London Philharmonic Orchestra

A festival of concerts, talks and exploratory events celebrating the musical legacy of the worldâ&#x20AC;&#x2122;s greatest playwright

Concert programme 2015/16 London 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

Southbank Centre’s Royal Festival Hall Friday 15 April 2016 | 7.30pm JTi Friday Series Brighton Dome Concert Hall Saturday 16 April 2016 | 7.30pm Congress Theatre, Eastbourne Sunday 17 April 2016 | 3.00pm

De Falla Suite No. 2 from ‘The Three-cornered Hat’ (12’) Rodrigo Fantasía para un gentilhombre (21’) Interval (20’) Prokofiev Romeo and Juliet (excerpts) (50’)

Jaime Martín conductor Xuefei Yang guitar (15 & 17 April)* Craig Ogden guitar (16 April)* * Due to an ongoing hand injury, it is with great regret that Miloš Karadaglić has had to withdraw from these concerts. We are very grateful to Xuefei Yang and Craig Ogden for taking his place at short notice.

Free pre-concert event Friday 15 April | 6.00–6.45pm | Royal Festival Hall Think you know Romeo and Juliet? Gordon McMullan, Academic Director of Shakespeare400 and colleagues set out to dispel the myths of this well-known story.

The timings shown are not precise and are given only as a guide. CONCERTS PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH BRIGHTON DOME AND EASTBOURNE BOROUGH COUNCIL

Contents 2–3 Welcome 4 Shakespeare400 5 On stage 6 About the Orchestra 7 Leader: Vesselin Gellev 8 Jaime Martín 9 Xuefei Yang / Craig Ogden 10 Programme notes 13 Recommended recordings 14 Next concerts at Royal Festival Hall 15 2016/17 season at Royal Festival Hall 16 2016/17 season at Brighton and Eastbourne 17 NOISE: students and under-26s 18 Sound Futures donors 19 Supporters 20 LPO administration

Friday 15 April Southbank Centre’s Royal Festival Hall

Welcome to Southbank Centre. We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk

New season now on sale! Next season's LPO concerts at Royal Festival Hall are now open for booking. After the huge success of The Rest Is Noise festival in 2013, we are excited to be collaborating once again with Southbank Centre on another large-scale multi-artform festival. Belief and Beyond Belief will interest atheists, agnostics and those of all faiths. We have devoted our 2017 concerts to the festival, beginning with Beethoven's profound statement on the human condition, Fidelio. LPO Principal Conductor and Artistic Advisor Vladimir Jurowski takes a major role throughout as we explore belief as revealed in works ranging from Haydn's The Creation to John Adams's Harmonielehre. See more details on page 15, browse the full 2016/17 season brochure online at lpo.org.uk/newseason or call us on 020 7840 4200 to request a copy in the post.

We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

The LPO on Instagram You can now find us on Instagram! Head over to our page @londonphilharmonicorchestra and follow us for exclusive backstage access. We’ll be sharing behind-the-scenes content to give you an insight into all things LPO, from the musicians themselves, to the On The Road team, and to the audiences at our concerts – tag us #londonphilharmonicorchestra so we can share in your experience...

Team LPO On Sunday 10 July 2016 a team of LPO musicians, staff and supporters will be taking part in the Vitality British 10k London Run in aid of the Orchestra’s schools concerts, BrightSparks. All money raised will allow over 12,000 young people from our South London communities and further afield to attend one of our live schools concerts, many for the very first time. Join Team LPO to run alongside our musicians in support of a great cause. We hope that each participant will commit to raising a minimum of £250. The LPO will provide support for your fundraising endeavours. To get up and running please contact Helen Yang on 020 7840 4225 or helen.yang@lpo.org.uk

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Saturday 16 April

Sunday 17 April

Brighton Dome

Congress Theatre, Eastbourne

Chief Executive Andrew Comben

Artistic Director Chris Jordan General Manager Gavin Davis

We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following: LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks. SMOKING Brighton Dome is a no-smoking venue. INTERVAL DRINKS may be ordered in advance at the bar to avoid queues. PHOTOGRAPHY is not allowed in the auditorium. RECORDING is not allowed in the auditorium. MOBILES, PAGERS AND WATCHES should be switched off before entering the auditorium. Thank you for your co-operation. The concert at Brighton Dome on 16 April 2016 is presented by the London Philharmonic Orchestra in association with Brighton Dome.

Welcome to this afternoonâ&#x20AC;&#x2122;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.

The Congress Theatre will close for refurbishment from January 2017 until summer 2018. We are delighted to present three concerts of chamber music with members of the London Philharmonic Orchestra at Devonshire Park Theatre in 2017: see page 16 for full details.

Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England. Brighton Dome is managed by Brighton Dome and Brighton Festival, which also runs the annual threeweek Brighton Festival in May. brightondome.org | brightonfestival.org

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lpo.org.uk/shakespeare

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Concerts at Royal Festival Hall

In collaboration with some of London’s leading cultural, creative and educational institutions, the London Philharmonic Orchestra joins Shakespeare400 with a celebration of the Bard’s love of music, and his influence on it. Join the LPO at Southbank Centre’s Royal Festival Hall this year for a celebration of creativity and collaboration, and dive into a musical world born of the words of the legendary William Shakespeare.

Wednesday 3 February 2016 | 7.30pm Dvořák | Othello Wednesday 10 February 2016 | 7.30pm Sibelius | The Tempest

Pre-concert talks

For four and a half centuries, the most admired playwright and poet in history has inspired music both intimate and grand, devastating and uplifting. Shakespeare’s body of plays and poems has exercised more influence over composers and musicians than anything else in literature bar the Bible, and continues to inspire across the generations of today.

Special performances

Welcome to our Shakespeare400 series, part of a UKwide festival of concerts, talks and exploratory events celebrating the musical legacy of the world’s greatest playwright, William Shakespeare.

Friday 15 April 2016 | 7.30pm | JTI Friday Series Prokofiev | Romeo and Juliet Saturday 23 April 2016 | 7.30pm Anniversary Gala Concert featuring very special guests Sunday 5 June 2016 | 12 noon FUNharmonics Family Concert | Bottom’s Dream Wednesday 3 February 2016 | 6.00pm Adapting Othello Wednesday 10 February 2016 | 6.00pm Late works of Shakespeare and others Friday 12 February 2016 | 6.00pm Shakespeare’s Windsor Friday 26 February 2016 | 6.00pm The Macbeths Friday 15 April 2016 | 6.00pm Think you know Romeo & Juliet? Wednesday 27 January 2016 | 6.00pm Hamlet in Russia: Shostakovich’s Hamlet Wednesday 10 February 2016 | 5.00pm New Horizons: Inspired by Shakespeare Saturday 5 March 2016 | 6.00pm Foyle Future Firsts: Ophelia Dances Saturday 9 April 2016 | 6.00pm LPO Soundworks & Quicksilver: Inspired by Shakespeare Saturday 30 April 2016 | post-concert RCM Big Band: Such Sweet Thunder

On stage

First Violins Vesselin Gellev Leader Ilyoung Chae Chair supported by an anonymous donor

Catherine Craig Thomas Eisner§ Martin Höhmann Chair supported by The Jeniffer and Jonathan Harris Charitable Trust

Robert Pool Sarah Streatfeild Yang Zhang Rebecca Shorrock Nilufar Alimaksumova Galina Tanney Robert Yeomans Anna Croad Georgina Leo§ Tina Gruenberg‡ Jacqueline Roche‡ Second Violins Andrew Storey Principal Lorenzo Gentili-Tedeschi Nynke Hijlkema Joseph Maher Nancy Elan# Marie Schreer Helena Nicholls Harry Kerr Sheila Law Elizabeth Baldey Gavin Davies Alison Strange§ Stephen Stewart§ Sioni Williams# Violas Benjamin Roskams Guest Principal Cyrille Mercier Co-Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens

Benedetto Pollani Emmanuella Reiter Naomi Holt§ Alistair Scahill§ Daniel Cornford# Martin Fenn# Cellos Pei-Jee Ng Principal Francis Bucknall Laura Donoghue Santiago Carvalho†§ David Lale Gregory Walmsley Elisabeth Wiklander Chair supported by The Viney Family

Susanna Riddell§ Tom Roff# Helen Rathbone#

Double Basses Anthony Alcock Guest Principal George Peniston Laurence Lovelle Lowri Morgan Helen Rowlands§ Charlotte Kerbegian§ Laura Murphy# Antonia Bakewell# Flutes Daniel Pailthorpe Guest Principal Nicolas Bricht Stewart McIlwham*

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

Clarinets Thomas Watmough Principal Paul Richards Emily Meredith Bass Clarinet Paul Richards Principal Tenor Saxophone Martin Robertson Bassoons Gareth Newman Principal Laura Vincent Contrabassoon Simon Estell Principal Horns David Pyatt* Principal Chair supported by Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Piccolos Stewart McIlwham* Principal

David Hilton

Chair supported by Friends of the Orchestra

Cornet David Hilton

Nicolas Bricht Oboes Ian Hardwick* Principal Alice Munday

Trombones David Whitehouse Principal John Randall

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal Chair supported by Jon Claydon

Keith Millar Jeremy Cornes Ignacio Molins James Bower Harp Rachel Masters* Principal Piano/Celeste Catherine Edwards * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco # 15 April only § 15 & 16 April only ‡ 15 & 17 April only

The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for the performances on 16 & 17 April is supplied and maintained by Steinway & Sons, London.

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at these concerts: William & Alex de Winton • Sonja Drexler • David & Victoria Graham Fuller • Victoria Robey OBE • Bianca and Stuart Roden • Caroline, Jamie & Zander Sharp • Eric Tomsett • Neil Westreich

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London Philharmonic Orchestra

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 a second volume of works by the Orchestra's former Composer in Residence, Julian Anderson. 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 premiere 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 across social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7 instagram.com/londonphilharmonicorchestra

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Jaime Martín conductor

Martín’s detailed performance took on a heady swagger, and his infectious enjoyment of the music communicated to the orchestra and audience alike.

The Telegraph, December 2014

Jaime Martín has quickly risen to international acclaim as a conductor in recent years, following his prominent career as a flautist (formerly Principal Flute of the London Philharmonic Orchestra). Having taken up the role of Artistic Director and Principal Conductor of Gävle Symphony Orchestra (Sweden) in September 2013, he is also Chief Conductor of the Orquestra de Cadaqués in Spain and Artistic Director of the Santander International Festival. As a guest conductor he has worked with an impressive list of orchestras that includes the Royal Liverpool Philharmonic, Royal Scottish National and Philharmonia orchestras; the Academy of St Martin in the Fields; the London Mozart Players; the Orquestra Sinfònica de Barcelona; the Orchestre National du Capitol de Toulouse; the Orchestre Philharmonique de Radio France; the English, Irish and Lausanne chamber orchestras; the Ulster Orchestra; and the Beijing Symphony, Swedish Radio Symphony, Aarhus Symphony, São Paulo Symphony, Saint Paul Chamber and Winterthur orchestras. Jaime Martín made his operatic debut in 2012 conducting The Magic Flute at El Escorial Madrid and the San Sebastián Festival. He made his debut at English National Opera in 2013 with The Barber of Seville and returned in 2014 to conduct The Marriage of Figaro. The 2015/2016 season includes Jaime’s debuts with the New Zealand and Queensland symphony orchestras as well as return engagements with the Royal Scottish National, Swedish Radio Symphony, Saint Paul Chamber and Winterthur orchestras, and multiple performances with the London Philharmonic Orchestra.

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Jaime’s recordings include Schubert’s Symphony No. 9, Montsalvatge’s Petita Suite Burlesca, Halffter’s Sinfonietta and Beethoven’s Symphony No. 3 (Eroica) with the Orquestra de Cadaqués. He has also recorded Toldrà’s Suite en Mi, Garreta’s Concert per a violí i orquestra, works by Granados, Garreta, Taltabull and Lamote de Grigno, Agustí Charles’s Elapsed Memories, Double Variations and Effigies II and Albéniz’s Catalonia, Escenes Simfóniques Catalanes and Suite Orquestral de l'òpera Pepita Jiménez with the Orquestra Simfònica de Barcelona i Nacional de Catalunya. His solo recordings include Mozart concertos with Sir Neville Marriner, a premiere recording of the Sinfonietta Concerto for Flute and Orchestra written for Jaime by Xavier Montsalvatge and conducted by Gianandrea Noseda; Bach works for flute, violin, and piano with Murray Perahia and the Academy of St Martin in the Fields for Sony; and Mozart flute quartets for EMI, amongst others. Born in Santander, Spain, Jaime Martín studied with Antonio Arias in Madrid and later with Paul Verhey in The Hague, Holland.

@jaimemartin17

Xuefei Yang

Craig Ogden

guitar 15 & 17 April

guitar 16 April

Xuefei Yang is acclaimed as one of the world’s finest classical guitarists. Hailed as a musical pioneer, her fascinating journey began after the Cultural Revolution, a period when Western music and instruments were banned. Fei was the first ever guitarist in China to enter a music school, and became the first internationally recognised Chinese guitarist on the world stage. Her international success has led to performances in more than 50 countries at prestigious venues such as London’s Wigmore Hall, Southbank Centre and Royal Albert Hall, as well as the Philharmonie Berlin, Concertgebouw Amsterdam, Konzerthaus Vienna, Auditorio Nacional de Espana, Barcelona Auditorium, and New York’s Carnegie Hall and Lincoln Center. Fei is committed to commissioning new works and making her own arrangements, with a particular interest in Chinese music and chamber music, many of which have appeared on her recordings. Gramophone magazine praised her as one of the leading innovators of her generation for continuing to build the guitar repertoire. Fei was born in Beijing and is a graduate of the city’s Central Conservatoire of Music. She went on to become the first Chinese musician to receive a full scholarship for postgraduate study at the Royal Academy of Music in London, where she received the Principal’s Prize. Classic FM Magazine named Xuefei as one of the 100 Top Classical Musicians of Our Time. Fei has also appeared on numerous radio and television programmes including BBC Radio 4’s Woman’s Hour, the BBC Proms, a BBC documentary: The Story of Guitar and China Central Television, who made a biographical documentary about her. Fei was awarded a Fellowship of the Royal Academy of Music in June 2012. She is now based in the UK.

Australian-born guitarist Craig Ogden is one of the most exciting artists of his generation. He studied guitar from the age of seven and percussion from the age of 13. He is the youngest instrumentalist to have received a Fellowship Award from the Royal Northern College of Music in Manchester. One of the UK’s most recorded guitarists, his recordings for Virgin/EMI, Chandos, Nimbus, Hyperion, Sony and Classic FM have received wide acclaim. Craig’s Classic FM albums The Guitarist and Summertime both shot straight to No. 1 in the UK classical chart in summer 2010 and 2011 respectively, followed by the release of Christmas Time in November 2013. His latest Classic FM albums Summer Guitar (2014) and Craig Ogden and Friends (2015) both went straight to No. 1 in the classical chart. Craig has performed concertos with all of the main UK orchestras plus many abroad in countries including Latvia, Russia, South Africa, Sweden and Australia. In recent seasons he has performed with the Philharmonia Orchestra, Manchester Camerata, Ulster Orchestra, Hallé Orchestra, Bournemouth Symphony Orchestra, WDR Rundfunk Orchestra (Cologne) and Aalborg Symphony Orchestra (Denmark). This season Craig performs concertos with orchestras including the BBC Concert Orchestra, Hallé Orchestra, the Orchestra of the Swan and the Spanish Symphony Orchestra. Craig Ogden is Head of Guitar at the Royal Northern College of Music, Visiting Lecturer at London’s Royal College of Music, Associate Artist of The Bridgewater Hall in Manchester, Curator of The Bridgewater Hall Guitar Weekend and Director of the Dean & Chadlington Summer Music Festival. He has presented on BBC Radio 3, BBC Northern Ireland and ABC Classic FM (Australia).

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Programme notes

Speedread When the 19th-century Italian songwriter Luigi Arditi announced plans to visit Birmingham, a friend urged him to visit Stratford-upon-Avon as well: ‘It would be a pity to leave the area without visiting the birthplace of Shakespeare.’ ‘But who is this Shakespeare?’, Arditi asked. Cue astonishment: ‘Haven’t you heard of the man who wrote Othello, Romeo and Juliet, The Merry Wives of Windsor... ?’ Arditi pondered for a moment. ‘Ah – you mean the librettist!’ The world’s greatest dramatist hasn’t always enjoyed an easy relationship with music. When words create their own music, what role is there for a composer?

Manuel de Falla

But strip those words away, and the drama and poetry that remain act as a potent inspiration. Prokofiev’s Romeo and Juliet contains not a single word of Shakespeare: yet the spirit of the Bard sings vibrantly out of this unmistakably Russian, unmistakably 20th-century score. In the same way, Falla’s colourful ballet and Rodrigo’s lovely Fantasía remake the spirit of baroque Spain in sounds that could have been created by no other composers. When words, places and images become music, they become universal. After all, as Mendelssohn once put it, music deals with feelings that aren’t too vague for words – but too precise.

Suite No. 2 from ‘The Three-Cornered Hat’ 1 Danza de los vecinos (Neighbours’ Dance) 2 Danza del Molinero (Miller’s Dance) 3 Danza final

1876–1946

Wander into a flamenco bar in Córdoba or Seville in July 1917 and you might have encountered a trio of poised, elegantly dressed men, one of whom seemed rather more at home than his companions. The native was the Cadíz-born composer Manuel de Falla, back in Spain for the duration of the hostilities. His companions were Sergei Diaghilev and Léonide Massine, of the worldfamous Ballet Russes. Falla called them ‘the Muscovites’. He’d caught their eye in Paris before the First World War; now he was writing a full-length ballet score for their company, based on Pedro Antonio de Alarcón’s story El corregidor y la molinera – a retelling of a classic Spanish pantomime about a pompous village magistrate (corregidor), a crafty Miller, and the Miller’s flirtatious young wife. The plot?

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You can probably work it out from that. For now, Falla, Diaghilev and Massine were absorbing the Spanish atmosphere. El sombrero de tres picos (‘The ThreeCornered Hat’ – part of the corregidor’s official uniform) opened in London in June 1919, with designs by another rising Spanish star – a young artist called Pablo Picasso. Falla had acted as rehearsal pianist. This short concert suite comprises most of the second half of the ballet. Falla had an intimate knowledge of authentic Spanish folk-song, particularly the Cante jondo of his native south, so the gentle Neighbours’ Dance evokes the rhythm of seguidillas on a starlit night; and the feisty Miller’s Dance carries the action punchily forward in the rhythm of a farruca. (Massine himself danced the role of the Miller). The Final Dance

wraps up the story in celebration, beginning in the bustle of a village square before swinging irresistibly into the rhythm of a jota, as the Miller, his faithful wife and the whole community celebrate the failure of the corregidor’s seduction schemes in an exuberant general celebration. The whole village cheerfully tosses the corregidor in a blanket as Picasso’s curtain falls.

Joaquín Rodrigo 1901–99

Francisco Bartolomé Sanz y Clema (1640–1710) is best known today as Gaspar Sanz, the author of Instrucción de Música sobre la Guitarra Española. Published in three volumes between 1674 and 1697, it’s still the definitive guide to the Spanish baroque guitar – and a useful reference source for composers who, like Joaquín Rodrigo, couldn’t play the guitar at all. That’s a fact that still surprises many listeners: that the composer of the Concierto de Aranjuez (1939) couldn’t even play the instrument for which, more enduringly than any other 20th-century composer, he’d created a concert repertoire. Rodrigo was a modest man; the idea of basing his next guitar concerto on a guitar textbook no doubt amused him. He may or may not have been nettled by the fact that the pre-eminent Spanish classical guitarist of the time, Andrés Segovia (1893–1987), had not played the Concierto in public, instead insisting that Rodrigo rewrite passages to his specification. Rodrigo politely but firmly resisted; whereupon Segovia commissioned a completely new work. ‘Joaquín felt no great desire to compose another concerto’, recalled the composer’s wife Victoria. ‘One day, however, he told me that he had thought it over and that he would write a Suite on themes collected by Gaspar Sanz […] We carefully reviewed the works of Sanz, and together we selected the themes that would serve as a basis.’

Fantasía para un gentilhombre (Fantasia for a Gentleman) Xuefei Yang guitar (15 & 17 April) Craig Ogden guitar (16 April) 1 Villano y ricercar 2 Españoleta y fanfarria de la caballería de Nápoles 3 Danza de las hachas 4 Canario So the ‘gentilhombre’ of the Fantasía’s title is Sanz – though Rodrigo dedicated the work to Segovia, who received the finished score in November 1954. ‘The title is delightful’, he wrote. ‘I hadn’t wanted to say anything, but being familiar with Sanz’s pieces, I felt that as foundations they were very weak. Fortunately, like a spider, you yourself produce the thread you need to weave your own work.’ Rodrigo himself was more tactful. ‘I called it Fantasía para un gentilhombre as a play on Sanz’s position at court, and the status held today by our own great guitarist. My highest satisfaction would be to think that if Gaspar Sanz could look at this score he might exclaim “It is not me – but I recognise myself!”’ Fantasía para un gentilhombre, then, is a reworking of several baroque pieces for guitar and chamber orchestra in the manner of Stravinsky’s Pulcinella – and with more than a dash of Stravinsky’s primary colours and harmonic spice, filtered through the musical language of Rodrigo’s hero Manuel de Falla (who had himself re-worked some of Sanz’s pieces in El retablo de maese Pedro in 1923). Sanz based his pieces on Spanish popular music, and the titles of the four movements evoke their own wonderfully colourful atmosphere. The first movement follows the courtly singing of the Villano with the measured phrases of the ricercar – a precursor of the fugue (without the heavyweight London Philharmonic Orchestra | 11

Programme notes continued

connotations). The Españoleta was a slow aristocratic dance from Catalonia, old-fashioned even in Sanz’s day: Rodrigo sets it off with rattling col legno (using the wood of the bow) strings and galloping flourishes in a reinvention of Sanz’s ‘Neapolitan cavalry fanfare’.

A vigorous Danza de las hachas (Axe Dance) serves as an upbeat to the finale: Canario, a spirited round-dance from the Canary Islands, complete with cuckoo, guitar cadenza and a final flurry of cheerfully inauthentic birdsong.

Interval – 20 minutes

Sergei Prokofiev

Romeo and Juliet (excerpts)

1891–1953

Montagues and Capulets Juliet the Young Girl Madrigal Minuet Masks Romeo and Juliet The Death of Tybalt Friar Laurence Romeo and Juliet Before Parting Romeo at Juliet’s tomb – Juliet’s Death From 1933 onwards, after 15 years in the West, Sergei Prokofiev started to return more and more frequently to Moscow. Genuinely idealistic about his new life, in 1934 he wrote of his creative aims in the Soviet newspaper Izvestiya. ‘Soviet music must be melodious; moreover the melody must be simple and comprehensible […] not an old-fashioned simplicity, but a new simplicity.’ So when the radical theatre director Sergei Radlov suggested a collaboration on a ballet version of Romeo and Juliet, Prokofiev saw it as chance to show the ‘new simplicity’ in action. The Bolshoi Theatre gave him the use of a country house at Polenovo, and between July and September 1935 Prokofiev wrote the entire score.

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Then the political realities began to bite. The Bolshoi declared the ballet ‘undanceable’ and the ballet was premiered instead in Brno, Czechoslovakia in December 1938. It was 11 January 1940 before it was finally staged in Russia, at Leningrad’s Kirov Theatre. Even then, there were difficulties. The choreographer, Leonid Lavrovsky, imposed a political message on the story: ‘the conflict between the outmoded beliefs of the Middle Ages, and the progressive ideals of the Renaissance’. Meanwhile, the dancers were in revolt. A joke ran round the Kirov: ‘For never was a story of more woe / Than Prokofiev’s music for Romeo’. Yet the performance was a success. Galina Ulanova danced Juliet in that Kirov production, and one night, at a post-show party, she invited Prokofiev to join her in a foxtrot. ‘He seemed always to be hearing some rhythm of his own’, she recalled. ‘But as the dance gradually gathered momentum, I started to feel confident and free. At last I caught my partner’s unusual and utterly marvellous rhythm.’ Romeo and Juliet’s ‘unusual and utterly marvellous rhythm’ has now entered the repertoire of every major ballet company in the world.

In 1936, when no theatrical performance seemed likely, Prokofiev selected 15 of the ballet’s 52 numbers and turned them into two concert suites – a third followed in 1946. This sequence utilises movements from all three.

Recommended recordings

Montagues and Capulets: A huge, slowly building discord depicts the moment in the story when the Prince commands the Montagues and Capulets to keep the peace. This leads directly into a menacing, slowmotion dance for the two rival families.

De Falla: The Three-Cornered Hat Philharmonia Orchestra| Rafael Frühbeck de Burgos [EMI – now Warner]

Juliet the Young Girl: The 14-year-old Juliet portrayed as a trim, vivacious scherzo; tender interludes for flutes, saxophone and yearning strings portray her budding emotions.

Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer.

Rodrigo: Fantasía para un gentilhombre Miloš Karadaglić | London Philharmonic Orchestra | Yannick Nézet-Séguin [Mercury Classics] Prokofiev: Romeo and Juliet Czech Philharmonic Orchestra | Karel Ančerl [Supraphon Gold]

Madrigal: A quiet moment at the Capulets’ ball – Juliet takes the dance floor, as a masked Romeo sees her for the first time, to increasingly fervent music. Minuet: The surroundings are palatial, but as the guests arrive to the sound of a courtly minuet, the welcome is distinctly heavy-handed. Masks: Romeo, Benvolio and Mercutio enter the Capulets’ ball in disguise. Their music is poised and cautious, gradually increasing in confidence. Romeo and Juliet: Morning in Juliet’s bedroom, a lyrical, sunlit love scene. The Death of Tybalt: Racing strings and clattering xylophone depict the swordfight between Tybalt and Mercutio. Mercutio is killed, and the music turns to a savage march as Romeo moves in to avenge his friend. The brass shriek warnings over slashing chords. Friar Laurence: ‘We have still known thee for a holy man’: chant-like melodies and warmly expressive string writing evoke both the Friar’s piety and his compassion. Romeo and Juliet Before Parting: The score’s final love duet, tender, fragile and – as befits the two lovers’ fate – torn by ominous and anguished premonitions. Romeo at Juliet’s Tomb: Romeo witnesses Juliet’s funeral, and an anguished lament for strings becomes the music of the procession itself. Juliet’s Death: Beginning in stillness, Prokofiev’s music traces Juliet’s awakening, impassioned sorrow, resignation – and at the very last, a sombre peace. Programme notes © Richard Bratby

Saturday 23 April 2016 | 7.30pm Royal Festival Hall

Shakespeare400: Anniversary Gala Concert Music by Verdi | Tchaikovsky | Vaughan Williams | Britten | Mendelssohn | Berlioz | Prokofiev | Thomas Adès | Walton Vladimir Jurowski conductor Simon Callow director London Philharmonic Orchestra The Glyndebourne Chorus Trinity Boys Choir For full details of soloists visit lpo.org.uk Tickets £12–£48 (premium seats £75) See booking details on page 14

Concert generously supported by Victoria Robey OBE and members of the Shakespeare400 Syndicate

London Philharmonic Orchestra | 13

Final concerts this season at Royal Festival Hall Wednesday 20 April | 7.30pm

Saturday 23 April | 7.30pm

Dukas La Péri Saint-Saëns Piano Concerto No. 5 (Egyptian)* Honegger Pacific 231 Debussy Images

Shakespeare400: Anniversary Gala concert

Vladimir Jurowski conductor Javier Perianes piano * Generously supported by an anonymous donor Concert broadcast live on BBC Radio 3

Scenes from: Verdi Otello Tchaikovsky Hamlet Vaughan Williams Serenade to Music Britten A Midsummer Night’s Dream Mendelssohn A Midsummer Night’s Dream Berlioz Roméo et Juliette Prokofiev Romeo and Juliet Thomas Adès The Tempest Walton Henry V Verdi Falstaff Vladimir Jurowski conductor Simon Callow director London Philharmonic Orchestra The Glyndebourne Chorus Trinity Boys Choir For full list of soloists visit lpo.org.uk Concert generously supported by Victoria Robey OBE and members of the Shakespeare400 Syndicate

Saturday 30 April | 7.30pm Rachmaninoff Piano Concerto No. 4 R Strauss An Alpine Symphony Vladimir Jurowski conductor Alexey Zuev piano

Tickets £9–£39 (premium seats £65) 23 April tickets £12–£48 (premium seats £75) London Philharmonic Orchestra Ticket Office: 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone.

14 | London Philharmonic Orchestra

MUSIC IS OUR WORLD. 2016/17 Concert Season at Southbank Centre’s Royal Festival Hall Highlights include: — Belief and Beyond Belief, a — Sibelius expert Osmo Vänskä year-long festival with presents a Symphony Cycle Southbank Centre exploring pairing Sibelius’s symphonies with concertos by British what makes us human in the 21st century, offering the composers opportunity for personal exploration of belief through — Soloists including Anne-Sofie Mutter, Nicola Benedetti, meaning, science, death, Julian Bliss, Steven Isserlis, ideology and society. In Patricia Kopatchinskaja and partnership with Principal Hilary Hahn Conductor and Artistic Advisor Vladimir Jurowski Great choral works including Haydn’s The Creation, Beethoven’s Missa Solemnis, Mozart’s Requiem, Mahler’s Symphony No. 8 and Beethoven’s Symphony No. 9 (Choral)

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

London Philharmonic Orchestra | 15

2016/17 season at Brighton & Eastbourne Our new season brochures for both Brighton and Eastbourne are available now. Pick one up as you leave the concert or call us on 020 7840 4200 to request one in the post.

Brighton Dome Concert Hall

Eastbourne Theatres

Saturday 29 October 2016 | 7.30pm

The Congress Theatre will close for refurbishment from January 2017 until summer 2018. We are delighted to present three concerts of chamber music with members of the LPO at Devonshire Park Theatre in 2017, in addition to our three Congress Theatre concerts this autumn.

Sibelius The Swan of Tuonela Walton Violin Concerto Sibelius Symphony No. 6 Sibelius Symphony No. 7 Osmo Vänskä conductor Tasmin Little violin Saturday 26 November 2016 | 7.30pm Glinka Waltz Fantasy Walton Cello Concerto Tchaikovsky Symphony No. 4 Dima Slobodeniouk conductor Dane Johansen cello

Sunday 23 October 2016 | 3.00pm | Congress Theatre Grieg Two Elegiac Melodies Tchaikovsky Violin Concerto Sibelius Symphony No. 1 Jamie Phillips conductor | Alexander Sitkovetsky violin Sunday 27 November 2016 | 3.00pm | Congress Theatre Glinka Waltz Fantasy Walton Cello Concerto Tchaikovsky Symphony No. 4 Dima Slobodeniouk conductor | Dane Johansen cello

Saturday 11 March 2017 | 7.30pm Dvořák Symphonic Variations Tchaikovsky Piano Concerto No. 1 Elgar Enigma Variations Rory Macdonald conductor Igor Tchetuev piano Saturday 29 April 2017 | 7.30pm Shostakovich Incidental Music from Hamlet Rachmaninoff Piano Concerto No. 2 Tchaikovsky Symphony No. 6 (Pathétique) Joshua Weilerstein conductor Mark Bebbington piano

Tickets £10–£27.50 (Premium seats £32.50) Ticket Office 01273 709709 Book online at brightondome.org There is a £2 per order charge for online and telephone bookings. Additional postage of 50p also applies if required. There is no charge for booking in person.

16 | London Philharmonic Orchestra

Sunday 4 December 2016 | 3.00pm | Congress Theatre Weber Overture, Der Freischütz Mozart Clarinet Concerto Beethoven Symphony No. 5 Michael Seal conductor | Raphaël Sévère clarinet Sunday 5 February 2017 | 3.00pm | Devonshire Park Theatre J S Bach Brandenburg Concerto No. 3 J S Bach Concerto for two violins Vivaldi The Four Seasons Sunday 12 March 2017 | 3.00pm | Devonshire Park Theatre R Strauss Sextet from Capriccio Mozart Clarinet Quintet Mendelssohn Octet Sunday 23 April 2017 | 3.00pm | Devonshire Park Theatre Brahms Horn Trio Schubert Piano Quintet in A major (Trout) Tickets £13–£29 plus £1 postage per booking Box Office 01323 412000 Book online eastbournetheatres.co.uk

Student & Under-26

Scheme

at Royal Festival Hall and Brighton Dome ‘Listening to the @LPOrchestra is one of the best things to do in life’

‘@LPOrchestra

bring it on!’

Students receive best available seats for just £4 and under-26s for £8 at selected concerts throughout the year.

www.lpo.org.uk/noise The London Philharmonic Orchestra's NOISE programme is supported by the Orchestra's Principal Beer Sponsor, Heineken.

Eastbourne Symphony Orchestra

www.eso.org.uk

2016

Choral Concert

Summer Concert

7.30pm Sunday 24 April

7pm Sunday 19 June, programme to include

Elgar’s Dream of Gerontius

Dvořák Cello Concerto

Eastbourne Symphony Chorus, Eastbournian Society Chorus Renaissance Singers Bass Jozik Kotz, Tenor Andrew Mackenzie-Wicks, Alto Susan Legg £14 in advance, £15 on the door boxoffice@eastbourne-college.co.uk 01323 452255 Reid and Dean, 43–45 Cornfield Road BN21 4QG St Saviour’s Church, South Street, Eastbourne, BN21 4UT

Jamal Aliyev, winner of the ESO Young Soloist Competition

Autumn Concert 7pm Sunday 16 October, programme to include

Glière Horn Concerto Ben Goldscheider, finalist in the ESO Young Soloist Competition More information: concertmanager@eso.org.uk 07780 993801

London Philharmonic Orchestra | 17

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

18 | London Philharmonic Orchestra

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 Dr Barry Grimaldi 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 Roger Greenwood 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 Andrew and Sarah Poppleton 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 The Goldsmiths’ Company 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 | 19

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

Alison Atkinson Digital Projects Director

Talia Lash Education and Community Project Manager

Matthew Freeman Recordings Consultant

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

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

Amy Sugarman PA to the Chief Executive / Administrative Assistant Finance David Burke General Manager and Finance Director David Greenslade Finance and IT Manager

Lucy Sims Education and Community Project Manager

Public Relations Albion Media (Tel: 020 3077 4930)

Richard Mallett Education and Community Producer