London Philharmonic Orchestra 18 Apr 2018 concert programme by London Philharmonic Orchestra

CONCERt programme

Changing Faces:

Stravinskyâ&#x20AC;&#x2122;s journey

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

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

Southbank Centre’s Royal Festival Hall Wednesday 18 April 2018 | 7.30pm

Stravinsky Symphony in C (28’) Stravinsky Tango (3’) Debussy Fantaisie for piano and orchestra (22’)

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Changing Faces: Stravinsky’s Journey 8 Vladimir Jurowski 9 Leif Ove Andsnes 10 Programme notes 11 New on the LPO Label: Stravinsky 14 Next concerts 15 2018/19 season: on sale now 17 Sound Futures donors 18 Supporters 20 LPO administration

Interval (20’) Shostakovich Symphony No. 6 in B minor, Op. 54 (30’)

Vladimir Jurowski conductor Leif Ove Andsnes piano

Free pre-concert performance 6.00–6.45pm | Royal Festival Hall The Foyle Future Firsts and members of the LPO perform Stravinsky’s concerto for chamber orchestra Dumbarton Oaks, alongside rarely heard works by Kagel and Berio written to mark the Russian composer’s death.

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

This performance is being broadcast live by BBC Radio 3 in Concert, and available for 30 days after broadcast via the Radio 3 website and the BBC iPlayer Radio app.

Welcome

Orchestra news

LPO Junior Artists Open Event – Friday 27 April 2018

Welcome to Southbank Centre

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

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

Vladimir Jurowski: Royal Philharmonic Society Award nomination

We look forward to seeing you again soon.

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

A few points to note for your comfort and enjoyment:

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

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

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

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

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

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

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Rasa Zukauskaite Rebecca Shorrock Evin Blomberg Katherine Waller Second Violins Joanna Wronko Guest Principal Tania Mazzetti Co-Principal Chair supported by Countess Dominique Loredan

Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Helena Herford Sioni Williams Harry Kerr Georgina Leo John Dickinson Judith Choi-Castro Violas David Quiggle Principal Robert Duncan Katharine Leek

Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Alistair Scahill Stanislav Popov Isabel Pereira Daniel Cornford Martin Fenn Martin Wray Julia Kornig Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall David Lale Gregory Walmsley Elisabeth Wiklander Susanna Riddell Helen Rathbone George Hoult Tom Roff Sibylle Hentschel Iain Ward Double Basses Kevin Rundell* Principal George Peniston Laurence Lovelle Lowri Morgan Charlotte Kerbegian Laura Murphy David Johnson Jakub Cywinski Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

Stewart McIlwham* Piccolo Stewart McIlwham* Principal

Oboes Ian Hardwick* Principal Alice Munday

Trombones Mark Templeton* Principal

Cor Anglais Sue Böhling* Principal

David Whitehouse

Chair supported by William & Alex de Winton

Chair supported by Dr Barry Grimaldi

Clarinets Oliver Janes Guest Principal Thomas Watmough Emma Burgess James Maltby Paul Richards* E flat Clarinet Thomas Watmough Principal Bass Clarinet Paul Richards* Principal Bassoons Jonathan Davies Principal Gareth Newman Simon Estell* Contrabassoon Simon Estell* Principal Horns David Pyatt* Principal Chair supported by Sir Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Trumpets Paul Beniston* Principal Philippe Schartz Guest Principal Anne McAneney*

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 Friends of the Orchestra

Keith Millar Jeremy Cornes James Bower Harps Rachel Masters Principal Zuzanna Olbryś Celeste John Alley Guitar Tom Ellis Assistant Conductor Edward Farmer * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

Chair supported by Geoff & Meg Mann

David Hilton

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust • Eric Tomsett

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London Philharmonic Orchestra

The LPO’s playing was often formidable in its detail and dramatic fire and there were numerous high points ... the evening belonged to Jurowski and his orchestra, who were simply outstanding. Tim Ashley, The Guardian, 28 January 2018 (Wagner’s Das Rheingold at Royal Festival Hall) Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. Celebrating its 85th anniversary this season, the Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and this season we celebrate the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Our year-long Belief and Beyond 4 | London Philharmonic Orchestra

Belief festival in partnership with Southbank Centre ran throughout 2017, exploring what it means to be human in the 21st century. In 2018, we explore the life and music of Stravinsky in our series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France, and plans for 2018/19 include a major tour of China and Asia, as well as Belgium, France, Germany, The Netherlands, Spain, Switzerland and the USA.

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 through an energetic programme of activities for young people. In 2017/18 we celebrate the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra 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 Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski, Mozart and Rachmaninoff piano concertos performed by Aldo Ciccolini under Yannick Nézet-Séguin, and Shostakovich’s Symphony No. 7 under Kurt Masur.

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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Changing Faces: Stravinsky’s journey

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

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

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

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

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Vladimir Jurowski conductor

Ten years of Vladimir Jurowski in London have brought a non-stop journey of discovery. As the London Philharmonic Orchestra celebrates his decade as music director, it can look back on a period of unrivalled adventure, taking audiences to places other orchestras never reach. © Simon Pauly

Richard Fairman, Financial Times, 30 November 2017

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007: this season we celebrate the tenth anniversary of this extraordinary partnership. One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. In 2017 Vladimir took up the position of Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra and Artistic Director of the George Enescu International Festival, Bucharest. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir is a regular guest with many leading orchestras in both Europe and North America, including the Royal Concertgebouw Orchestra; the Accademia Nazionale di Santa Cecilia, Rome; the New York Philharmonic; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco

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and Chicago symphony orchestras; and the TonhalleOrchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe. His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra National de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Salome with the State Academic Symphony of Russia; Moses und Aron at the Komische Oper Berlin; Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. In 2017 he made an acclaimed Salzburg Festival debut with Wozzeck and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the LPO. The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; and Rachmaninoff’s Symphony No. 3 and Symphonic Dances. Autumn 2017 saw the release of a sevendisc set of Tchaikovsky’s complete symphonies under Jurowski (LPO-0101), and a special anniversary sevendisc set of his previously unreleased recordings with the LPO spanning the symphonic, choral and contemporary genres (LPO-1010). Visit lpo.org.uk/recordings to find out more.

Leif Ove Andsnes piano

Andsnes has entered an elite circle of pianistic stardom … When he sits in front of the keyboard … extraordinary things happen.

The New York Times

The New York Times has called Leif Ove Andsnes ‘a pianist of magisterial elegance, power, and insight’, and The Wall Street Journal named him ‘one of the most gifted musicians of his generation’. With his commanding technique and searching interpretations, he has won worldwide acclaim, performing in the world’s leading concert halls and with its foremost orchestras. Also an avid chamber musician, Andsnes is the founding director of the Rosendal Chamber Music Festival in Norway, which he launched in 2016. Now in its third year, the 2018 Festival will focus on music ‘In the Shadow of War, 1914–18’. Throughout the 2017/18 season Leif Ove Andsnes is Artist in Residence with both the New York Philharmonic and Bergen Philharmonic orchestras. He also performs with orchestras across Europe and the United States including the Tonhalle-Orchestra Zurich, the Vienna Symphony, the Deutsches Symphonie-Orchester Berlin, the Bavarian Radio Symphony and the Orchestre Philharmonique de Radio France. Earlier this month he reunited with Michael Tilson Thomas to perform Debussy’s Fantaisie for piano and orchestra with the Oslo Philharmonic. With a diverse discography recorded over the last 25 years, Andsnes’s recent releases have included a threeCD ‘Beethoven Journey’ with the Mahler Chamber Orchestra and an album of Sibelius’s little-known piano gems which France’s Diapason magazine described as ‘a triumph of serenity, naturalness and charm’ and Le Monde as ‘ravishing’. 2018 sees the release of two new recordings: a Stravinsky two-piano duo CD with Marc-André Hamelin was released in February, and a solo album of music by Chopin will follow in the autumn.

Andsnes has received Norway’s distinguished honour, Commander of the Royal Norwegian Order of St. Olav, as well as the prestigious Peer Gynt Prize. In the last year he has received honorary doctorates from both New York’s Juilliard School of Music and the Bergen Conservatoire. He is also the recipient of the Royal Philharmonic Society’s Instrumentalist Award and the Gilmore Artist Award. He was inducted into the Gramophone Hall of Fame in 2013 and, saluting his many achievements, Vanity Fair named Andsnes one of its ‘Best of the Best’ in 2005. Leif Ove Andsnes was born in Karmøy, Norway in 1970, and studied at the Bergen Conservatoire under renowned Czech professor Jirí Hlinka. He has also received invaluable advice from the Belgian piano teacher Jacques de Tiège who, like Hlinka, has greatly influenced his style and philosophy of playing. He is currently an Artistic Advisor for the Prof. Jiri Hlinka Piano Academy in Bergen, where he gives an annual masterclass to participating students. Leif Ove Andsnes lives in Bergen and in June 2010 achieved one of his proudest accomplishments to date: becoming a father for the first time. His family expanded in May 2013 with the welcome arrival of twins.

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Programme notes

Speedread As part of the London Philharmonic Orchestra’s continuing series Changing Faces: Stravinsky’s Journey, tonight’s concert begins with the Russianborn composer’s Symphony in C of 1938–40: this is a lucid, lively updating of the idea of the Classical symphony, unaffected by the tensions of the time or by family tragedy. It makes a sharp contrast with the closing work, a Russian symphony from the same period, the Sixth of Shostakovich: this combines a grimly powerful opening slow movement with

Igor Stravinsky 1882–1971

Stravinsky’s Symphony in C was commissioned for the 50th anniversary season of the Chicago Symphony Orchestra, and first performed in Chicago under the composer’s direction in November 1940. Its composition spanned Stravinsky’s transatlantic move in September 1939. The first two movements were written in 1938/39 in France, where the exiled Russian composer had lived for many years; the third and fourth followed in 1939/40 in the USA, which was to be his home for the rest of his life. This was a period not only of upheaval and wartime uncertainty, but also of family tragedy: the composer’s daughter died in 1938, and his first wife and his mother in 1939. But there is no sign of any intrusion of personal grief on Stravinsky’s abstract concern with his musical material and its treatment. The work was Stravinsky’s first orchestral symphony since his Opus 1, the Symphony in E flat that he wrote in his twenties; and he consciously intended it to be in the symphonic tradition of the 18th and 19th centuries, working with copies of symphonies by Haydn and

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a light-hearted scherzo and finale, reacting sincerely to the troubles of the time and then ironically to official demands for optimistic music. The programme is completed by Stravinsky’s next work after the Symphony in C, a tuneful Tango, in the composer’s own chamber orchestration, and a rarely heard early work by Stravinsky’s friend Debussy (who died just over a hundred years ago), the substantial Fantaisie for piano and orchestra.

Symphony in C 1 Moderato alla breve 2 Larghetto concertante – 3 Allegretto 4 Largo – Tempo giusto, alla breve

Beethoven (as well as Tchaikovsky’s First) on his desk. The buoyant opening movement comes closest to the Classical symphony, with its conventional ground-plan and – unusually for Stravinsky – its unchanging tempo and two-in-a-bar (alla breve) pulse. It also features Haydn-like treatment of a little figure of three notes, B–C–G, which emerges from the opening bars to form the initial notes of the first main theme, on the oboe, and recurs frequently throughout the movement. The second movement lives up to the description in its heading of concertante, or concerto-like, by highlighting different solo instruments and groupings in turn: its poised outer sections concentrate on the woodwind; its central section, at double speed, is led by the strings. This movement leads without a break into the scherzo, which is even more kaleidoscopically fragmented in its colouring, and restless in its constant changes of metre. The finale begins with a slow introduction for low bassoons with horns and trombones, which is recalled later on to put a temporary brake on the movement’s

purposeful alla breve progress. This finally abates in a slightly slower coda, in which the B–C–G motif of the first movement returns stretched out into long notes – eventually appearing in the top line of the cool, quiet wind chords that close the Symphony.

Igor Stravinsky

Tango

The first work that Stravinsky wrote in its entirety on American soil after his move from Europe was his Tango for piano of 1940. He must have hoped to make some money from this tuneful little piece: he sanctioned an orchestration by another hand for a concert directed by Benny Goodman, and there were plans for adaptations for dance band and as a popular song. But in the end Stravinsky contented himself with his own less practical

arrangement for a chamber orchestra of multiple clarinets, trumpets and trombones, guitar, and six solo strings. This was made in 1953, and first performed in Los Angeles in October that year. The piece has a plan of a chordal introduction, a main section with three constituent parts, a Trio featuring a smooth violin solo, a partial reprise of the main section, and a coda echoing the introduction.

New CD release on the LPO Label: Stravinsky Stravinsky: Petrushka (1947 version) The Firebird – Suite (1919 version) Klaus Tennstedt conductor London Philharmonic Orchestra LPO-0105 | £9.99

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via iTunes, Spotify, Amazon and others.

London Philharmonic Orchestra | 11

Programme notes continued

Claude Debussy 1862–1918

Debussy was a master of writing for the piano and for the orchestra: yet his only work combining the two is an early essay that he withheld from publication and performance throughout his life. This was the Fantaisie that he composed in Rome in 1889/90, as the final work required of him as a winner of the Prix de Rome scholarship. It was scheduled for performance in Paris in April 1890, but after one rehearsal the conductor Vincent d’Indy decided to present only the first movement; Debussy then withdrew the work (by the simple expedient of clearing the orchestral parts from the stands), insisting to d’Indy that a partial hearing could give only ‘a wrong idea of it’. At this point, Debussy clearly wished to arrange another performance, since he sold the Fantaisie to a publisher, who had the score engraved ready for printing. But whenever the prospect of a performance arose (in 1895/96, 1902/03, and perhaps also later), Debussy set about marking up the proof pages of the score with substantial revisions, mostly of the orchestral scoring, then could not bring himself to return them

Fantaisie for piano and orchestra Leif Ove Andsnes piano 1 Andante ma non troppo 2 Lento e molto espressivo – Allegro giusto 3 Allegro molto

to the publisher in time. After the composer’s death, the publisher finally issued the score in its uncorrected version, and the work was performed – initially in London, in November 1919, with Alfred Cortot as soloist. An edition incorporating Debussy’s revisions was eventually published in 1968. But tonight’s performance is of the original version of the work, as it was engraved shortly after its composition. The Fantaisie is in G major and in three movements – though Debussy obscured this by linking the second and third under one heading. The first has a slow introduction which anticipates the main theme of the triple-time Allegro; this theme plays a background role in the exploratory middle section of the movement, but returns to begin the closing section. The Romantically expressive slow movement is in the rich and rare key of F sharp major. The finale begins over a repeated pizzicato bass figure, which forms the mainstay of the opening section, and is later transformed in a slow interlude; after the quick tempo is restored, the bass figure returns in sonorous piano chords, leading to an accelerating coda.

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

Leonore Piano Trio at Wigmore Hall: LPO Benevolent Fund charity concert Sunday 22 April 2018 | 7.30pm | Wigmore Hall Featuring piano trios by Haydn, Parry and Schubert A special fundraising concert by the Leonore Trio in aid of Marie Curie and the LPO Benevolent Fund, which provides crucial financial support to LPO musicians unable to work through illness or injury. Tickets £15–£25: book via wigmore-hall.org.uk

12 | London Philharmonic Orchestra

Dmitri Shostakovich

Symphony No. 6 in B minor, Op. 54 1 Largo 2 Allegro 3 Presto

1906–75

Shostakovich composed the sixth of his 15 symphonies in his native Leningrad (St Petersburg) between April and October 1939. It was first performed in the same city in November that year under Yevgeny Mravinsky, as part of an annual Festival of Soviet Music. It was Shostakovich’s first major work since he had rehabilitated himself in official eyes, after the censure of his opera The Lady Macbeth of the Mtsensk District, with his Fifth Symphony of 1937. And it soon came under critical fire on its own account, for its apparently unbalanced and unsymphonic three-movement structure. The first, and by far the longest, movement is the opening B minor Largo. This begins on a large scale and at a high level of intensity with a broad introduction, an expansive first-subject group, and a similarly extended second-subject group in funeral march rhythms. But, instead of the expected epic development section, there is a subdued interlude based on the funeral march, mostly for solo flute over tense trills. It leads to a final section consisting of a much-truncated recapitulation of the first-subject group and the briefest of references to the funeral march.

a ‘stylistic somersault’ that ‘ruins the ideological concept of the Sixth Symphony’. But his idea of that ‘ideological concept’ was that the first movement embodies contemplation of memories of the past, before the composer turns ‘to real life, to its sparkle and joy’. This chimed with Shostakovich’s own public statement that he wanted the work to convey ‘the moods of spring, joy, youth’. More recent commentators, however, have pointed out that there was not much spring-like ‘sparkle and joy’ in the USSR of the late 1930s: an uneasy period when the horrors of the recent Stalinist Terror still loomed large, and the Nazi-Soviet Pact of August 1939 transformed Fascist Germany overnight from hated enemy to trusted ally. Soviet composers were exhorted at this time to lift the nation’s flagging morale by concentrating on light music. So it may well be that for Shostakovich it was the grim but unassertive first movement of the Symphony that represented the ‘real life’ of the time, while the two final movements were his ironic response to official demands for lightness, cheerfulness and optimism. Programme notes © Anthony Burton

This ending creates a pattern of unfulfilled expectations which is replicated in the Symphony as a whole. The slow and serious opening movement is followed by two slighter and lighter quick movements. The first is a scherzo, with a strongly accented trio section which reaches a strident climax, and a shortened, restrained reprise of both sections. And the finale is an athletic rondo, with a contrasting central episode beginning in heavy waltz time, and a coda based on the waltz tune which brings the Symphony to a B major close in the manner of a riotous circus galop. Shostakovich’s Soviet biographer Dmitri Rabinovich condemned this incongruous ending as a ‘brazen display of vulgarity’,

London Philharmonic Orchestra | 13

Next concerts at Southbank Centre’s Royal Festival Hall saturday 21 april 2018 7.30pm

wednesday 25 april 2018 7.30pm

friday 27 april 2018 7.30pm

Anders Hillborg Mantra – Elegy (Homage to Stravinsky) (world premiere)* Falik Elegiac Music in memory of Igor Stravinsky Stravinsky Ode Beethoven Violin Concerto

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

Debussy Prélude à l’après-midi d’un faune Prokofiev Piano Concerto No. 2 Dvořák Symphony No. 8

Vladimir Jurowski conductor Gil Shaham violin

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

* Please note a change of conductor from previously advertised.

* Commissioned by the London Philharmonic Orchestra with the support of the Ernst von Siemens Music Foundation, and the Aspen Music Festival.

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

14 | London Philharmonic Orchestra

GeT

closer

2018/19 concerT season

aT souThbank cenTre’s royal FesTival hall

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

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

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

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

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

#BachNevsky

PROKOFIEV

ALEXANDER NEVSKY THURSDAY 3RD MAY 2018 | 7.30pm

ROYAL FESTIVAL HALL LONDON

PHILHARMONIA ORCHESTRA

Conductor DAVID HILL

Mezzo-soprano | HILARY SUMMERS

Countertenor | SIMON PONSFORD

PLUS

CHICHESTER PSALMS | Bernstein AGNUS DEI | Barber SYMPHONIC DANCES FROM WEST SIDE STORY | Bernstein

TICKETS | £10–£50 Transaction fees apply: £2.50 online, £3 over the phone | 020 3879 9555 | southbankcentre.co.uk GROUP TICKET OFFER: 20% discount when you book ten or more tickets. Call 020 7960 4225 (Mon–Fri 9.30am–5.30pm), or email groups@southbankcentre.co.uk.

Sound Futures donors

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International 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 | 17

Thank you

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

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

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

18 | London Philharmonic Orchestra

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

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

Lady Jane Cuckney DBE Mr David Devons Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer Sabina Fatkullina Mrs Janet Flynn Christopher Fraser OBE Peter and Katie Gray The Jackman Family Mrs Irina Tsarenkov Mr David MacFarlane Mr John Meloy Mr Stephen Olton Robin Partington Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw Ms Natalie Spraggon Michael & Katie Urmston Damien & Tina Vanderwilt Timothy Walker AM Mr John Weekes Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) HH Prince George-Constantin von Sachsen-Weimar Eisenach (Germany)

Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (China/Hong Kong) Hsiu Ling Lu (China/Shanghai) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen) We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: William A. Kerr Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee David Oxenstierna Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Bonhams Celebro Media Christian Dior Couture Faraday Fenchurch Advisory Partners Giberg Goldman Sachs Pictet Bank White & Case LLP

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

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

London Philharmonic Orchestra | 19

Administration

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

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Project Manager