London Philharmonic Orchestra 16 Jan 2019 concert programme by London Philharmonic Orchestra

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2018/19 Concert Season

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

concert programme

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

Southbank Centre’s Royal Festival Hall Wednesday 16 January 2019 | 7.30pm

Arne Gieshoff Burr (world premiere) (5’) Anders Hillborg Sound Atlas (world premiere) (18’) Erkki-Sven Tüür Solastalgia for piccolo and orchestra (UK premiere) (20’) Interval (20’)

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Marin Alsop 7 Stewart McIlwham Colin Currie 8 Programme notes & composer profiles 18 LPO Player Appeal 2018/19 19 Next concerts 21 Sound Futures donors 22 Supporters 24 LPO administration

Louis Andriessen Agamemnon (European premiere) (20’) Helen Grime Percussion Concerto (world premiere) (20’)

Marin Alsop conductor Stewart McIlwham piccolo Colin Currie percussion

Concert generously supported by Dior

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

This concert is being recorded by BBC Radio 3 for broadcast on Monday 21 January at 7.30pm and will be available for 30 days after broadcast on BBC Sounds; simply search for Radio 3 in Concert.

Part of Southbank Centre’s SoundState festival, January 2019.

Welcome

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 a member of staff for assistance. Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location. Explore across the site with Foyles, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Spiritland, Honest Burger, Côte Brasserie, Skylon and Topolski. If you wish to get in touch with us following your visit, please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone us on 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES AND WATCHES should be switched off before the performance begins.

Out now The Spring 2019 edition of Tune In, our free LPO magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic

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Orchestra news

appy New Year! Welcome to the first London Philharmonic Orchestra concert of 2019 at Royal Festival Hall. Tonight promises to be musical history in the making, as Marin Alsop conducts five works by some of today’s most exciting living composers, including three world premieres. When Alex Ross, author of The Rest Is Noise, said that Britain was one of the best places in the world to make new music, this is exactly the sort of thing he was talking about. A young German composer, Arne Gieshoff, who’s found his voice in London. The world premiere of Sound Atlas by Swedish composer Anders Hillborg, before the LPO’s own Principal Piccolo introduces a new concerto by Estonian composer Erkki-Sven Tüür. And then, after the interval, the European premiere of Louis Andriessen’s Agamemnon, before percussion phenomenon Colin Currie performs a brand new showpiece by Helen Grime, one of the most powerful young British talents. We hope you enjoy tonight’s concert and can join us again at Royal Festival Hall again soon: turn to page 19 to see details of our next concerts. Spring tours: Asia and the USA This spring the Orchestra embarks on a major twoweek tour of Southeast Asia with conductor Vladimir Jurowski and violinist Julia Fischer. This marks our first visit to Taiwan in ten years and our first South Korean tour since 2010. The tour begins on 3 March, when the Orchestra departs Heathrow for the South Korean capital Seoul. There and in the city of Yongin we will perform works by Brahms, Bruckner, Mendelssohn and Strauss, before flying to Taiwan to give concerts in Taipei and Kaohsiung. We’ll then continue to China to perform at Beijing’s National Centre for the Performing Arts, the Concert Hall in Tianjin and the Oriental Art Center in Shanghai, before returning to London on 18 March. In mid-April we jet off again, travelling to New York to give two concerts at Lincoln Center with conductor Edward Gardner, pianist Jean-Efflam Bavouzet and violinist James Ehnes. From there it’s just a short hop to Stamford, Connecticut where we perform the following evening at the city’s Palace Theatre. Follow all our touring adventures on Twitter: twitter.com/lporchestra

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

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

Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett

Tina Gruenberg Rebecca Shorrock Lasma Taimina Nilufar Alimaksumova Kana Kawashima Alice Hall Katherine Waller Eunsley Park Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Eriko Nagayama Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Helena Nicholls Sioni Williams Robin Wilson Sheila Law Ioana Forna John Dickinson Alison Strange Violas David Quiggle Principal Richard Waters Co-Principal Ting-Ru Lai Katharine Leek Susanne Martens Benedetto Pollani Naomi Holt Stanislav Popov

Daniel Cornford Martin Wray Charles Cross Clive Howard Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Susanna Riddell Helen Rathbone George Hoult Double Basses Sebastian Pennar Principal Hugh Kluger George Peniston Tom Walley Laurence Lovelle Charlotte Kerbegian Jakub Cywinski David Johnson Flutes Katie Bedford Guest Principal Hannah Grayson Katherine Bicknell Piccolos Katherine Bicknell Hannah Grayson Alto Flute Hannah Grayson Bass Flute Katherine Bicknell Oboes Ian Hardwick* Principal Alice Munday Chair supported by Friends of the Orchestra

Sue Bรถhling*

Tuba Lee Tsarmaklis* Principal

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

Timpani Simon Carrington* Principal

Clarinets Benjamin Mellefont Guest Principal Thomas Watmough

Percussion Andrew Barclay* Principal

Chair supported by Roger Greenwood

Chair supported by Andrew Davenport

Bass Clarinet Paul Richards* Principal

Henry Baldwin Co-Principal Keith Millar James Larter

Contrabass Clarinet Alan Andrews Soprano Saxophone Martin Robertson Bassoons Emily Hultmark Guest Principal Laura Vincent Simon Estell*

Harp Rachel Masters Principal

Pianos Katherine Tinker John Cuthbert

Celeste Katherine Tinker

Electric Guitar Contrabassoon Simon Estell* Principal

Dan Thomas

Bass Guitar Horns John Ryan* Principal

Tom Walley

Chair supported by Laurence Watt

Glass Harmonica Philipp Marguerre

Martin Hobbs Duncan Fuller Gareth Mollison Elise Campbell Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Assistant Conductor Lina Gonzalez Granados Taki Concordia Conducting Fellow 2017 Meet our members: lpo.org.uk/players

David Hilton Gwyn Owen Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse Bass Trombone Lyndon Meredith Principal

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Sir Simon Robey Victoria Robey OBE

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London Philharmonic Orchestra

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

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

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Changing Faces: Stravinsky’s Journey charted the life and music of one of the 20th century’s most influential composers, and in 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and British-inspired music from Purcell to the present day. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of the 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. In 2017/18 we celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO Young Composers programme; the Foyle Future Firsts orchestral training programme; and the LPO Junior Artists scheme for talented young musicians from communities and backgrounds currently underrepresented in professional UK orchestras. The Orchestra’s work at the forefront of digital engagement and social media has enabled it to reach even more people worldwide: as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include a Poulenc disc conducted by Yannick Nézet-Séguin, Tchaikovsky’s Symphonies Nos. 2 & 3 under Vladimir Jurowski, and a film music disc under Dirk Brossé.

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

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Marin Alsop conductor

If anyone has the courage and power to change the world through music, it’s Marin Alsop.

WQXR, March 2017

Marin Alsop is an inspiring and powerful voice in the international music scene. She is recognised across the world for her innovative approach to programming and for her deep commitment to education and to the development of audiences of all ages. In September 2018 she conducted the London Philharmonic Orchestra on tour in Lucerne, and her most recent appearance with the LPO at Royal Festival Hall was in 2015, when she conducted an all-Beethoven programme. Marin Alsop’s outstanding success as Music Director of the Baltimore Symphony Orchestra since 2007 has been recognised by two extensions in her tenure, now confirmed until 2021. Alsop has led the orchestra on its first European tour, to the BBC Proms and Edinburgh International Festival, and created several bold initiatives: ‘OrchKids’, for the city’s most deprived young people, and the BSO Academy and Rusty Musicians for adult amateur musicians. In 2012 she became Principal Conductor and Music Director of the São Paulo Symphony Orchestra (OSESP), where she continues to steer highly creative programming and outreach activities, and which she conducts on the international stage. Her contract continues to the end of 2019, when she becomes Conductor of Honour. In September 2019 Alsop becomes Chief Conductor of the ORF Vienna Radio Symphony Orchestra, an orchestra known for its commitment to contemporary music. Marin Alsop conducts the world’s major orchestras, with recent and forthcoming European highlights including the Royal Concertgebouw Orchestra, Filarmonica della Scala, Budapest Festival Orchestra, Danish National Symphony Orchestra, Orchestre de Paris and London Symphony Orchestra. In the US, Alsop regularly conducts the Philadelphia, Cleveland and Chicago symphony

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orchestras. Further highlights of the 2018/19 season include the Gewandhausorchester Leipzig, Israel Philharmonic Orchestra, Spanish National Orchestra, and the Orchestre National de France, following summer festival debuts at the Grafenegg and MITO festivals with the Royal Philharmonic Orchestra and a second residency with the Britten-Pears Orchestra at the Snape Proms. As one of Leonard Bernstein’s best-known pupils, Alsop was central to his 100th anniversary global celebrations in 2018: she opened the LSO’s tribute, and conducted performances of Bernstein Mass at the Ravinia Festival, as the festival’s Musical Curator, and at Southbank Centre, where she is Artist in Residence. Also at Southbank Centre she conducted Brahms’s German Requiem with the Orchestra of the Age of Enlightenment. In 2013 Marin Alsop made history as the first female conductor of the BBC’s Last Night of the Proms, which she returned to conduct in 2015. Marin’s extensive discography has led to multiple Gramophone Awards and includes highly praised Naxos cycles of Brahms with the LPO and MDR Leipzig, Dvořák with the BSO and Prokofiev with OSESP. She is dedicated to new music, demonstrated in her 25-year tenure as Music Director of California’s Cabrillo Festival of Contemporary Music. Among her many awards and academic positions, Marin Alsop is the only conductor to receive the prestigious MacArthur Fellowship, is an Honorary Member of the Royal Academy of Music and Royal Philharmonic Society, and was recently appointed Director of Graduate Conducting at the Johns Hopkins Peabody Institute. She attended The Juilliard School and Yale University, who awarded her an Honorary Doctorate in 2017.

Colin Currie

piccolo

percussion

Stewart McIlwham

Stewart McIlwham has been Principal Piccolo of the London Philharmonic Orchestra since 1997. Stewart began his studies at the Douglas Academy Music School in Glasgow with John Wiggins. He continued studying at the Guildhall School of Music & Drama under Peter Lloyd, before being appointed Principal Piccolo of the BBC Philharmonic Orchestra in 1985, a position he held until 1990. As a student Stewart was a founder member of the National Youth Orchestra of Scotland, as well as playing with the National Youth Orchestra of Great Britain and the European Community Youth Orchestra. He was also a finalist in the Shell LSO Competition on two occasions, in 1981 and 1985. Stewart was Principal Piccolo of the Royal Philharmonic Orchestra from 1990–97. In 1997 he gave the world premiere of Peter Maxwell Davies’s Piccolo Concerto with the RPO conducted by the composer in Nottingham, followed by the London premiere at the Barbican. Stewart joined the Board of the London Philharmonic Orchestra in 2003, and was elected President in 2012. He is also a Professor of Piccolo at London’s Royal College of Music.

Championing new music at the highest level, Colin Currie is the soloist of choice for many of today’s foremost composers, and performs regularly with the world’s leading orchestras and conductors. Following tonight’s world premiere of Helen Grime’s Percussion Concerto, Colin will give the work’s US premiere with the Baltimore Symphony Orchestra under Marin Alsop later this month. This season also sees the launch of his new percussion quartet, the Colin Currie Quartet; appearances in their debut season include the NCPA Beijing, Wigmore Hall and the East Neuk Festival in Fife, Scotland. A dynamic and adventurous soloist, Colin Currie’s unrivalled commitment to commissioning and creating new music was recognised by the Royal Philharmonic Society, who awarded him the 2015 Instrumentalist Award. He has premiered works by a multitude of composers, and in the coming seasons will premiere new works by Steve Reich and Andy Akiho. Colin is Artist in Association at London’s Southbank Centre and performs widely with his dynamic ensemble the Colin Currie Group, formed in 2006, specialising in the music of Steve Reich. In October 2017 Currie launched Colin Currie Records, in conjunction with LSO Live, as a platform for his diverse projects, celebrating the extraordinary developments for percussion music over the past century.

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Programme notes

Speedread Composing, like most artistic practices, is part process and part instinct. Bach could not have written the Art of Fugue without knowledge of the fugal process, but few of us, even equipped with the same knowledge, would have the instinct to compose something as elegant and affecting as the music Bach left us. The same holds true for contemporary music. But perhaps now, more than ever before, composers are trusting their instincts to guide them in the search for new ideas. The 21st-century musical landscape is a rich and diverse one, its features borrowed from other centuries, other continents and other cultures, the rigid processes that defined certain chapters of the past still influencing – but no longer defining – the path ahead.

Arne Gieshoff

Erkki-Sven Tüür speaks of the intuition and ‘inner energy’ that guides his imagination when composing, each new work ‘like a tree that grows from a small seed’. And the same is true of Arne Gieshoff, whose music appears to take shape organically, unfolding and evolving as though unhindered by form or convention. For Helen Grime, seeking out colour is itself an intuitive act, the pull of some instruments over others a curiously personal preference. This, in the end, is what makes a great 21st-century composer: the instinct and ability to be recognised amidst a sea of colour. ‘I always remember when I was a young composer and was worrying about style’, says. Louis Andriessen. ‘My father said to me “Just do it, and you will find your own voice”.’

Burr World premiere

born 1988

Commissioned by the London Philharmonic Orchestra following Arne Gieshoff’s participation in the 2013/14 LPO Young Composers programme. If art imitates life, then Arne Gieshoff’s music is a reflection of his thoughtful, inquisitive mind. His compositional process – ‘a narrowing orbit … every piece needs its own journey of discovery’ – is borne out in scores that flicker and shapeshift as though evolving and transforming even as we listen. Flexible and fluid, Gieshoff’s style is anchored to ideas and sounds rather than linear processes, the net result playful and surprising, seemingly organically conceived. Burr was commissioned following Gieshoff’s participation in the 2013/14 LPO Young Composers programme, its title a reference to an interlocking, three-dimensional ‘burr’ puzzle that Gieshoff encountered in an exhibition. ‘I felt there was a kinship between the shapes and what I imagined the process 8 | London Philharmonic Orchestra

of solving one of those might feel like’, he says, ‘and how I viewed the piece or my relationship to the piece in that moment.’ At a structural level, Burr is – like the puzzle – tripartite in its design. Its core is an ‘exploded three-part-counterpoint’ with the orchestra segmented into three principal groupings (strings – brass and percussion – winds). These large-scale divisions result, in places, in expansive, transparent textures that weave in and out of one another, often overlapping, occasionally coalescing, but rarely synchronising for long. But peppering these sustained textures are fragmented motifs that flicker in and out of view, manifestations of the ‘deformed, irregular growths that grow on trees’ or the ‘irritating spiked seed burr that sticks to one’s clothes’, both contrasting and complementary interpretations of the work’s title.

Gieshoff’s score is an abstract one, its focus on the nature of the sounds themselves ‘and how those sounds and their relationships resonate with whomever is listening’, rather than a specific narrative. But these visual ‘burr’ motifs also evoke a compelling landscape, one that flickers with energy and swerves between furious, unbridled vigour and moments of more subtle, delicate intimacy. Programme note © Jo Kirkbride

Arne Gieshoff was a participant on the 2013/14 London Philharmonic Orchestra’s Young Composers programme, culminating in the premiere of his orchestral work Umschreibung at Southbank Centre’s Queen Elizabeth Hall in June 2014. His works have also been performed by the BBC Scottish Symphony Orchestra, Philharmonia Orchestra, Royal Scottish National Orchestra, Ensemble Intercontemporain, Collegium Novum Zurich, ensemble unitedberlin and the Riot Ensemble, as well as conductors Vladimir Jurowski, Lothar Zagrosek, Clement Power, Nicholas Collon, Richard Baker, Thomas Søndergård and the late Oliver Knussen. During the 2014/15 season he was Sound and Music’s Apprentice Composer in Residence with the Birmingham Contemporary Music Group, as well as Composer in Residence with the Dutch ensemble Oerknal. Arne was awarded the 2012 Royal Philharmonic Society Composition Prize and the 2014 Theodore Holland Intercollegiate Award. He was selected as

the 2014 Mendelssohn Scholar, received a fellowship for the 2014 session of the Tanglewood Music Center, and was an LSO Soundhub Associate from 2012–15. In 2015 he was awarded the Royal College of Music’s President’s Award, presented by HRH The Prince of Wales, and a GEMA European Music-Author Scholarship. From 2015–17 he held the Hans Werner Henze Foundation Scholarship. Arne completed his undergraduate and postgraduate studies with distinction at the Royal College of Music supported by an ABRSM Scholarship, The Countess of Munster Musical Trust, an RVW Trust Award and an RCM Foundation Scholarship, studying with Simon Holt, Jonathan Cole and Kenneth Hesketh. He attended composition programmes at Aldeburgh (Britten-Pears), Dartington, IRCAM (Manifeste) and the St Magnus International Festival. He has received mentoring, amongst others, from Oliver Knussen, Julian Anderson, Colin Matthews, Gerald Barry, Unsuk Chin, Dai Fujikura, Philippe Leroux, Philippe Hurel, Cord Meijering, Markus Hechtle and Johannes Schöllhorn. In addition to his compositional work, Arne is co-founder and artistic advisor of the contemporary music group Explore Ensemble. He is a teacher of composition at the Peter-Cornelius-Konservatorium Mainz and the Akademie für Tonkunst Darmstadt.

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Programme notes continued

Anders Hillborg

Sound Atlas World premiere 1 Crystalline 2 River of Glass 3 Vaporised Toy Pianos 4 Vortex 5 Hymn

born 1954

Commissioned by the London Philharmonic Orchestra, Los Angeles Philharmonic, NDR Elbphilharmonie Orchestra and Göteborgs Symfoniker.

Glass Harmonica and string microtones both play significant roles in the work, contributing to the crystalline quality that is at the centre of its soundworld. After the Toy Pianos have ’vaporised’, this crystalline character fades and the music is plunged into ‘Vortex’ – a soundscape of violent, whirling, convulsive masses of sound. The music ascends from the whirlpool up to a brief crystalline moment, then plunges yet again into the abyss, finally resolving into the solemn string hymn which concludes the piece. Programme note © Anders Hillborg

21st-century music on the LPO Label

Julian Anderson LPO-0089 | £9.99

Julian Anderson LPO-0074 | £9.99

James MacMillan | Thomas Adès |Jennifer Higdon LPO-0035 | £9.99

CDs available from lpo.org.uk/recordings, the Royal Festival Hall shop, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Apple Music, Amazon, Spotify and others.

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One of Sweden’s leading composers, Anders Hillborg is that rare artist whose music strikes a chord across many different countries and cultures. Born in Sweden in 1954, an early interest in electronic music developed from a beginning as a keyboard improviser in a pop band, but contact with Brian Ferneyhough and the music of Ligeti quickly led to a fascination with counterpoint and orchestral writing. Since then, Hillborg’s love of pure sound, and the energy that he gives it, have appealed to many major conductors including Alan Gilbert, Sakari Oramo, Kent Nagano and Gustavo Dudamel. Peacock Tales, Hillborg’s theatrical clarinet concerto for Martin Fröst, displays another strand of his large and varied output: a sense of humour and the absurd. The piece has been taken up with enthusiasm in several different versions and has received a staggering number of performances. Mouyayoum for 16-voice a cappella choir is one of his most popular works, riffing on a rhythmically complex overtone series unadorned with words. Here, as always, Hillborg’s ear for the subtleties of the voice and his natural lyricism are unmistakable. Above all, his music is borne out of a refreshing stylistic freedom matched by an innate communicative ability. Hillborg’s sphere of activity extends well beyond the concert hall to embrace a wide range of pop and film music: in 1996 he won a Swedish Grammy for his work on Eva Dahlgren’s album Jag vill se min älskade komma från det vilda (‘I want to see my beloved coming from the wild’).

2011 saw the premiere of Cold Heat by the Berlin Philharmonic under David Zinman, and Sirens – Hillborg’s largest work to date – by the LA Philharmonic and Esa-Pekka Salonen. The advocacy of Salonen has resulted in numerous works, including Dreaming River (premiered by the Royal Stockholm Philharmonic Orchestra in 1999), Eleven Gates (2005–06), commissioned and premiered by the Los Angeles Philharmonic, and, most recently, Sirens, a joint commission from the LA Philharmonic and Chicago Symphony orchestras. With each passing year, Hillborg’s international reputation grows apace. His music has twice been the subject of Royal Stockholm Philharmonic Orchestra Composer Festivals (1999, 2014) and he has also enjoyed residencies at Soundstreams, Toronto (2003), Avanti! (1995, 2005), Aspen (2008) and, most recently, in Hamburg (where he is Composer in Residence with the NDR). An extensive discography (at least 24 recordings) includes four portrait discs on BIS. Recently recorded by Decca, Hillborg’s song cycle for Renée Fleming, The Strand Settings, received a rapturous reception in London, whilst the UK premiere of Beast Sampler at the 2015 BBC Proms led The Times to pronounce: ‘Spectralism writ large: more please’. In recognition of his music’s extraordinary international reach, Hillborg was awarded the Swedish Government’s 2015 Music Export Prize, an accolade more usually reserved for pop and rock artists. In October 2016 the Stockholm Philharmonic under Sakari Oramo premiered a Violin Concerto for Lisa Batiashvili (Hillborg’s second), co-commissioned by the Leipzig Gewandhaus, Minnesota and Seoul Philharmonic orchestras. Other recent projects include a companion piece to Bach’s Third Brandenburg Concerto for Pekka Kuusisto and the Swedish Chamber Orchestra under Thomas Dausgaard.

London Philharmonic Orchestra | 11

Programme notes continued

Erkki-Sven Tüür born 1959

Solastalgia for piccolo and orchestra UK premiere Stewart McIlwham piccolo

Commissioned by the Royal Concertgebouw Orchestra Amsterdam, St. Louis Symphony and London Philharmonic Orchestra. World premiere: 6 December 2017, Concertgebouw, Amsterdam. Vincent Cortvrint (piccolo), Royal Concertgebouw Orchestra, Stéphane Denève (conductor)

Solastalgia (/sɒlə’stældʒə/) is a neologism that describes a form of psychic or existential distress caused by environmental change, such as mining or climate change. Coined by philosopher Glenn Albrecht in 2003, it was formed from a combination of the Latin word sōlācium (comfort) and the Greek root -algia (pain). The first article published on this concept appeared in 2005. As opposed to nostalgia – the melancholia or distress experienced by individuals when separated from a loved home (or homesickness)—’solastalgia’ is the distress that is produced by environmental change impacting on people while they are directly connected to their home environment.

I mostly live in Hiiumaa, an Estonian island in the Baltic Sea, on a farm on the Kõpu peninsula. When the wind happens to blow from the north, I can hear the waves break on the other side of the forest. There are no other houses in sight. From the windows of my studio, I can often spot deer, foxes and cranes. It takes about ten minutes to walk through the protected forest down to the beach. And I feel how every day my life in this miraculous place grows increasingly rare and somehow unreal. Like some sort of an illusion. Where I live, the impact of global climate change manifests itself in that winters are no longer winters and summers no longer summers. In my childhood it was ordinary for cars to drive to mainland on a 25km ice bridge in the winter. There was a lot of snow. And summers were so warm that swimming in the sea was the most natural thing in the world. Today’s 12 | London Philharmonic Orchestra

reality is that the difference between winter and summer equinoxes is often only 4–5 degrees. There is no place to hide from the ubiquitous environmental change caused by human activity. An inexplicable anguish creeps into my soul when I see the vast areas of chopped-down forests; the onslaught of oil palm plantations when I travel in Southeast Asia; when I read about gigantic ice blocks breaking off the mainland in Antarctica; the fields of garbage floating around in the ocean, etc. Why am I writing about this here? Do I have any solutions to offer? No, I don’t. And this composition won’t make the world a better place either. At best, it’s a lone voice in the wilderness – something that echoes the most burning conflicts of contemporary reality. The above was just to explain that I didn’t choose the title on a whim or due to the word’s peculiar sound. The piccolo in this score is the catalyst of great processes in the orchestra. Its effect and essence are perhaps the most similar to the ‘butterfly’ pattern adopted by the American mathematician and meteorologist Edward Lorenz. Initially, the piccolo phrases are replied to by a ‘same-gender’ sound: the flute, alto flute and bass flute. The introduction of more melodious motifs is accompanied by the entire woodwind section and, gradually, by the whole orchestra. It is remarkable how the orchestral waves inspired by the piccolo grow more intense and then slowly dissipate. Everything flows in the direction of increasing rhythmical activity and expanding tessitura, spirally developing in waves that accumulate more and more energy.

The harmonic plan evolves according to the consistent alteration of the horizontal or vertical organisation principle. Resembling repeatedly converging and diverging rays, the structure of musical lines on the horizontal level is connected to the structure of huge chord pillars on the vertical level. A sequence of certain key intervals spurs infinite derivatives, which, though growing and diminishing, are nevertheless tied to the original DNA. I have called my composition method ‘vectorial’, as I develop my musical material according to factors such as ‘the angle of ascent or descent’, ‘curve characteristics’, the direction of energy accumulation and eruption, etc. I want to emphasise that although

this sounds extremely artificial, the decisions I make when composing are still largely based on intuition. Moreover, in my imagination the inner energy and dramatic development becomes an abstract visual chart that very naturally guides me to use these vectorial methods in shaping the musical details. And when I listen to my music, the most important thing is whether its developmental arc sounds natural or not. Like a tree that grows from a small seed – when it’s just a tiny sprout shooting from the earth, we haven’t the slightest idea of what form it will take in decades. Having achieved its final shape, however, it’s the sole fundamentally intrinsic outcome it could have reached.

Programme note © Erkki-Sven Tüür English translation © Pirjo Püvi

Erkki-Sven Tüür, who was born in Estonia in 1959, is among the most original and significant composers of his generation. Having studied percussion and flute, he developed his skills in composition at the Tallinn Conservatoire (1980–4) and subsequently pursued an interest in electronic music in Karlsruhe. In 1979, Tüür founded the progressive rock band In Spe, in which he was active as composer, instrumentalist, and vocalist. By the late 1980s Tüür had embarked wholeheartedly on his path as a composer; his musical development has been charted in a series of ECM releases which began with Crystallisatio (1996).

Oxymoron Tüür first employed what he calls his ‘vectorial writing method’, a means of developing pieces from ‘a source code – a gene which, as it mutates and grows, connects the dots in the fabric of the whole composition’. Tüür’s 21st-century music eschews ‘unnecessary eclecticism’ in favour of organic coherence. Barry Witherden, writing in BBC Music Magazine, captured something of the essence of Tüür’s recent music in describing the 2014 recording of his Piano Concerto and Seventh Symphony as ‘dense, complex, mysterious, passionate, spellbinding, sometimes strange and always original’. Of his art Tüür has said: ‘One of my goals is to reach the creative energy of the listener. Music as an abstract form of art is able to create different visions for each of us, for each and every individual being, as we are all unique.’

Tüür’s early works explore a variety of techniques polystylistically, among them Gregorian chant and minimalism, linear polyphony and microtonality, twelve-tone music and sound-field technique. A transition in his musical language can be heard in his Symphony No. 4 (Magma) and Ardor, and in

Interval – 20 minutes An announcement will be made five minutes before the end of the interval. London Philharmonic Orchestra | 13

Programme notes continued

Louis Andriessen born 1939

Agamemnon European premiere Sue Böhling speaker

World premiere: 4 October 2018, David Geffen Hall, Lincoln Center, New York. New York Philharmonic, Jaap van Zweden (conductor)

Louis Andriessen says that Agamemnon grew out of his idea for ‘a war-like piece, full of fast music and nervous terror,’ in this case drawn from Greek antiquity and, specifically, from The Iliad. He says this of the title character: ‘It’s true that he’s often viewed as a villain and he was certainly a brutal warrior and a womaniser, who sacrificed his daughter Iphigenia in a deal to get the right winds to sail to Troy. Yet he was an inspiring leader who was originally reluctant to go to war and only agreed to support his younger brother Menelaus,

whose wife Helen had been abducted by a Trojan prince. I don’t want to pass judgement on Agamemnon because he lived in a very different moral world to ours, where the humans—particularly their leaders— were largely puppets of the Gods. I think of him as a double character, part good guy and part bad guy, so interesting because he is like a lot of us … Though Agamemnon is for symphony orchestra, the scoring is slanted to my personal soundworld with some typical Andriessen additions: soprano sax, two pianos either side of the conductor, electric guitar, bass guitar, and drum kit. This allows enough martial brutality.’

Andriessen includes this list of characters in the score for Agamemnon: Dramatis Personae Agamemnon: Kalchas: Iphigenia: Achilles: Klytaimnestra:

led a ten-year war, also King of Mycenae, seducer of women. Trojan defector, seer. sacrificed to the goddess Artemis. Or perhaps not? the fleet-footed warrior. murders her husband Agamemnon when he comes home victorious. He brings with him the young prophetess Kassandra, the daughter of the King of Troy.

The composer’s list draws on Greek mythology. Agamemnon commanded Greek forces in the Trojan War, although their departure into battle was stalled by Artemis, goddess of the hunt. After being offended by Agamemnon’s slaying of a sacred animal, Artemis stilled the wind so ships could not sail. Kalchas prophesied that to appease the goddess, Agamemnon would have to sacrifice something sacred in return, his daughter Iphigenia. Agamemnon tells his wife, Klytaimnestra, to

14 | London Philharmonic Orchestra

send their daughter to him, for she has been promised in marriage to Achilles in return for his bravery in battle. In some tellings, Artemis takes pity upon Iphigenia before she dies and carries her away to become the mortal goddess Hecate. Kassandra, who was taken by Agamemnon as a spoil of war, was given the ability to foresee the future, but she was cursed by Apollo so that her prophecies would never be believed.

Andriessen explains that the roles played by these personages are musical: ‘It’s not a literal drama depicting specific scenes in the narrative. It’s more an interplay of characters, who are distinct but can also be grouped into the men—Agamemnon, Achilles and the seer Kalchas— and the women—Iphigenia, Klytaimnestra, and the Trojan prophetess Kassandra, daughter of the defeated Trojan king who was taken back to Greece as Agamemnon’s concubine. You might hear Achilles running around the battlefield one moment and then perhaps Iphigenia in a few quieter bars in B minor. And Kalchas is there arguing in declamatory music about the will of the Gods.’

Still, one character does make a literal appearance: Kassandra, who reflects on the story via the words of Aeschylus, translated by Ted Hughes and expanded by Andriessen:

Louis Andriessen is widely regarded as the leading composer working in the Netherlands today, and a central figure in the international new music scene. From a background of jazz and avant-garde composition, he has evolved a style employing elemental harmonic, melodic and rhythmic materials, heard in totally distinctive instrumentation. His range of inspiration is wide, from the music of Charles Ives in Anachronie I, the art of Mondriaan in De Stijl, to writings on shipbuilding and atomic theory in De Materie Part I. Andriessen’s compositions have attracted many leading exponents of contemporary music, including Asko|Schoenberg, the San Francisco Symphony, the Los Angeles Philharmonic, the BBC Symphony Orchestra, the Kronos Quartet, the London Sinfonietta and the Bang on a Can All Stars.

Just a few words. Agamemnon was killed by his wife. Soon I will be killed as well. This is life. The luckiest hours Like scribbles in chalk On a slate in a classroom. We stare And try to understand them. Then luck turns its back— And everything’s wiped out. Joy was not less pathetic Than the worst grief. —Text from Aeschylus, translation by Ted Hughes, with the first three lines by Louis Andriessen. Programme note by James M. Keller, Programme Annotator of the New York Philharmonic and the San Francisco Symphony. This note originally appeared in the programmes of the New York Philharmonic and is used with permission. © New York Philharmonic.

Collaborative cross-discipline works include the theatre piece De Materie, created with Robert Wilson for the Netherlands Opera; three works created with Peter Greenaway (the film M is for Man, Music, Mozart, and the stage works Rosa: The Death of a Composer and Writing to Vermeer); and collaborations with filmmaker Hal Hartley, including The New Math(s) and La Commedia, an operatic setting of Dante. Recent commissions include Mysteriën, premiered by the Royal Concertgebouw Orchestra and Mariss Jansons, and The only one for the Los Angeles Philharmonic, premiering in April 2019. His newest opera, Theatre of the World, about the 17thcentury polymath Athanasius Kircher, received first performances in Los Angeles and Amsterdam in 2016, and was released on disc by Nonesuch in 2017. Louis Andriessen was awarded Composer of the Year Award by Musical America in 2010. He won the 2011 Grawemeyer Award for Music Composition for his opera La Commedia. Reprinted by kind permission of Boosey & Hawkes.

London Philharmonic Orchestra | 15

Programme notes continued

Helen Grime born 1981

Percussion Concerto World premiere Colin Currie percussion 1 Bright – 2 Subdued, lamenting – 3 Fleet-footed, mercurial

Commissioned by Southbank Centre, London; Baltimore Symphony Orchestra; and Swedish Chamber Orchestra.

Grime says: ‘When I was first sketching material for this piece, I was inspired by a book I found about the angels in Paul Klee’s work. Sometimes these are in larger works or are sketches or smaller drawings or paintings. This suggested the structure of the piece and sections as well as suggesting certain ideas, lines and rhythmic gestures that form the basis of the work’s material.’ ‘Quite early on I knew I wanted the first part to be metallic’, she continues, ‘so it is almost entirely for vibraphone with cadenza-like passages on glockenspiel and crotales.’ This frenzy of activity, all flickering semiquavers and rapid-fire repetitions, sees the percussion and violins enter into a feverish dialogue, each jostling for position in a driving first movement that threatens to swerve off course at any given moment. The effect is deliberate, and amounts to something of a role reversal for traditional orchestral percussion – the soloist’s job here is to drive the action, rather than simply to colour it.

16 | London Philharmonic Orchestra

Composing for percussion is a colourful exercise. The range of colours, textures and sonorities afforded by the myriad of instruments that make up the percussionist’s arsenal is almost too plentiful and too rich to contain within a single work. For Grime, faced with the task of selection, she found herself ‘naturally drawn to tuned percussion’. So, while the score also calls for tom-toms, bongos, cymbals and woodblocks, it is focused primarily around the marimba, glockenspiel and vibraphone, the latter announcing the Concerto’s arrival with the work’s two main motifs: a flurry of pitch and a barrage of rhythm.

‘This work is a profoundly complete musical vision; both exquisitely crafted and emotionally devastating. Helen’s thoroughly distinctive harmonic language is here conjoined with a new, unfettered rhythmic invention, and the solo percussion instruments are harnessed to sing, dance and lament alongside an orchestra of seemingly infinite colour.’ Colin Currie Although performed in one single, continuous stretch, Grime’s score preserves the fast-slow-fast outline of the traditional concerto, the opening flurry eventually melting, little by little, into a ‘subdued’ central movement that whispers and murmurs in contrast to the clarity of the opening. It was, says Grime ‘out of my comfort zone’ to write for such indeterminate pitches, but the effect is compelling – as though the work were creaking and bending beneath the weight of the outer

sections. Even here, the marimba pierces the gloom but it is rhythm, not pitch, that governs this central episode, its insistent repeated rhythms borrowed from the Concerto’s opening bars. When the finale arrives, ‘fleetfooted and mercurial’, we are whisked back to Grime’s ‘tuned’ home territory, the marimba dancing in chains of unbridled semiquavers, the orchestra powerless to resist the urge to join in.

Programme note © Jo Kirkbride

Helen Grime studied at the Royal College of Music with Julian Anderson and Edwin Roxburgh (composition) and John Anderson (oboe). She came to public attention in 2003, when her Oboe Concerto won a British Composer Award. In 2008 she was awarded a Leonard Bernstein Fellowship to attend the Tanglewood Music Center, where she studied with John Harbison, Michael Gandolfi, Shulamit Ran and Augusta Read Thomas. Grime was a Legal and General Junior Fellow at the Royal College of Music from 2007–09. Grime has had works commissioned by ensembles and institutions including the London Symphony Orchestra, the Barbican, Aldeburgh Music, Birmingham Contemporary Music Group, Britten Sinfonia, the BBC Scottish Symphony Orchestra, the Chamber Music Society of Lincoln Center and the Tanglewood Music Center. Conductors who have performed her work include Simon Rattle, Pierre Boulez, Daniel Harding, Yan Pascal Tortelier, Oliver Knussen and Mark Elder.

nominated in the Contemporary category of the 2015 Gramophone Awards. In 2016 her Two Eardley Pictures were premiered at the BBC Proms and in Glasgow, winning the prize for large-scale composition in the Scottish Awards for New Music and a nomination in the British Composer Awards the following year. In 2016 Grime was appointed as Composer in Residence at Wigmore Hall. Highlights of this period included a day of concerts devoted to her music, as well as the premieres of a Piano Concerto for Huw Watkins and Birmingham Contemporary Music Group conducted by Oliver Knussen, and a song cycle, Bright Travellers, for soprano Ruby Hughes and pianist Joseph Middleton. In 2017 she was commissioned by the Barbican to write a two-part work for Simon Rattle’s inaugural season as Music Director of the London Symphony Orchestra. The first instalment, Fanfares, opened the LSO’s 2017/18 season and the complete work, Woven Space, received its premiere in April 2018. Between 2010 and 2017 Grime was Lecturer in Composition at Royal Holloway, University of London. In 2017 she was appointed Professor of Composition at the Royal Academy of Music in London.

Between 2011 and 2015 Grime was Associate Composer to the Hallé Orchestra. This fruitful period resulted in a series of new works and a recording of her orchestral works released by NMC Recordings. This disc was awarded ‘Editors Choice’ by Gramophone Magazine on its release and was

London Philharmonic Orchestra | 17

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London Philharmonic Orchestra | 20

Sound Futures donors

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra | 21

Thank you

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

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

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

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

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

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

22 | London Philharmonic Orchestra

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

Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson Mr John Weekes Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Irina Gofman (Russia) Joyce Kan (China/Hong Kong) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen)

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

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

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

London Philharmonic Orchestra | 23

Administration

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

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

David Burke General Manager and Finance Director

Talia Lash Education and Community Manager

Lucas Dwyer PA to the Chief Executive/ Administrative Assistant

Emily Moss Education and Community Project Manager

Finance Frances Slack Finance and Operations Manager

Hannah Tripp Education and Community Project Co-ordinator

Dayse Guilherme Finance Officer

Development Nick Jackman Development Director

Concert Management Roanna Gibson Concerts Director

Vicky Moran Development Events Manager

Graham Wood Concerts and Recordings Manager Sophie Richardson Tours Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter Tours Co-ordinator Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians Christopher Alderton Stage Manager

Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Ellie Franklin Development Assistant Georgie Gulliver Development Assistant Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager

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Damian Davis Transport Manager

Megan Macarte Box Office Manager (Tel: 020 7840 4242)

Composer photographs courtesy of the Royal College of Music, London.

Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator

Rachel Williams Publications Manager

Cover artwork Ross Shaw Printer Cantate

Laura Kitson Assistant Transport & Stage Manager

Harriet Dalton Website Manager (maternity leave) Rachel Smith Website Manager (maternity cover) Greg Felton Digital Creative Alexandra Lloyd Marketing Co-ordinator Tom Wright Marketing Assistant

24 | London Philharmonic Orchestra