LPO online concert programme: 11 November 2020 - Beethoven & Chevalier de Saint-Georges by London Philharmonic Orchestra

AUTUMN CONCERT SEASON 2020

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 11 NOVEMBER 2020 • 8PM

CELEBRATIONS AND REVOLUTIONS Chevalier de Saint-Georges Overture, L’amant anonyme Beethoven Piano Concerto No. 4 Beethoven Ah! Perfido Beethoven Symphony No. 4 Daniele Rustioni conductor Nicolas Namoradze piano Sophie Bevan soprano Concert generously supported by Mrs Aline Foriel-Destezet

LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 HOW TO WATCH 4 PROGRAMME NOTES: OVERTURE TO L’AMANT ANONYME 5 PROGRAMME NOTES: PIANO CONCERTO NO. 4 7 PROGRAMME NOTES: AH! PERFIDO 8 TEXT & TRANSLATION: AH! PERFIDO 9 PROGRAMME NOTES: SYMPHONY NO. 4 10 DANIELE RUSTIONI 11 NICOLAS NAMORADZE 12 SOPHIE BEVAN 13 ON STAGE TONIGHT 14 LONDON PHILHARMONIC ORCHESTRA 15 LEADER: PIETER SCHOEMAN 16 AUTUMN CONCERTS 17 PLAY ON APPEAL 18 THANK YOU 20 SOUND FUTURES DONORS 22 MEMBERSHIPS & DONATIONS 23 CORPORATE PARTNERSHIPS 24 LPO ADMINISTRATION

Concert recorded at the Southbank Centre’s Royal Festival Hall on 23 October 2020. –2–

LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

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LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

PROGRAMME NOTES JOSEPH BOLOGNE, CHEVALIER DE SAINT-GEORGES 1745–99

OVERTURE TO L’AMANT ANONYME (THE ANONYMOUS LOVER), 1780 – APPROX 12 MINS –

1 ALLEGRO PRESTO 2 ANDANTE 3 PRESTO

Saint-Georges was once lured to England by the Prince of Wales for a celebrity fence-off with a wellknown female opponent, and might have become famous for his antics with a sword. But he mastered his musical technique and found his voice as a composer pretty early on. Much of the music he wrote was induced by the orchestras he played in, directed, and transformed into first-rate ensembles (including, late in his career, the famous Cercle de l’Harmonie). When Saint-Georges became one of the first black Freemasons in France at the Loge Olympique, he was entrusted with the directorship of its orchestra.

Joseph de Bologne, aka Le Chevalier de Saint-Georges, was the son of a French aristocrat and one of the slaves that worked on his plantation in Guadeloupe. An outstandingly talented fencer, violinist, keyboardist, conductor, love-maker and no mean composer either, Saint-Georges was living proof that the only way black people could hope to gain recognition and respect in 18th-century Europe was a combination of formidable talent, good connections, extremely hard work and considerable luck. For the vast majority, luck was in very short supply.

Seven years earlier, with Joseph Haydn clearly on his radar, Saint-Georges wrote the only one of his comic operas that survives in score today: L’Amant anonyme (‘The Anonymous Lover’). After its first performance in Paris in 1780, it became the most popular of the composer’s stage works. Haydn’s influence is clear in the bustling energy and rhythmic gameplay of the opera’s symphonic, three-movement Overture. Its three movements are often built around elegant elaborations on simple figures, but it launches with an angular theme, full of purpose. A whimsical slow section follows, and then a return to fast music full of brightness but with a dash of intrigue too. Programme note © Andrew Mellor

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LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

PROGRAMME NOTES LUDWIG VAN BEETHOVEN 1770–1827

PIANO CONCERTO NO. 4 IN G MAJOR, OP. 58 1805/06 – APPROX 34 MINS –

NICOLAS NAMORADZE PIANO 1 ALLEGRO MODERATO 2 ANDANTE CON MOTO – 3 RONDO: VIVACE ‘A man’s reach should exceed his grasp,’ wrote the poet Robert Browning, and there are few composers who lived that philosophy more energetically than Beethoven. But there were times when in his straining for the impossible he became his own worst enemy. The first public performance of this Concerto in Vienna in 1808 is a case in point. Beethoven may have thought it was a good idea to programme a concert including not just the Fourth Piano Concerto but also the Fifth and Sixth symphonies, large chunks of the Mass in C, a full-scale Fantasy for piano, chorus and orchestra, the concert aria Ah! Perfido plus a substantial solo improvisation of his own; but it seems nobody else did – especially not in an unheated theatre on a freezing December day. We are told that the poor soprano in Ah! Perfido ‘rather shivered than sang’, while the chorus broke down completely in the Fantasy – only to have Beethoven yell at them that they should start it all over again.

It is hard to imagine a less appropriate debut for the Fourth Piano Concerto, on the whole one of the gentlest and most intimate of Beethoven’s largescale works. Here, as in the Fifth Concerto (the so-called ‘Emperor’ Concerto), Beethoven breaks with Classical convention by having the piano come in right at the start. But, whereas in No. 5 the pianist immediately seizes the audience’s attention with eruptions and cascades of broken chords and runs, here in the Fourth Concerto the pianist steals in quietly, unaccompanied, musing on the first theme before coming to a half close. This, and the orchestra’s response, on a completely unexpected harmony, pianissimo, form one of the most magical beginnings in the concerto repertoire. Some listeners may notice that the leading da-da-da-DA rhythmic pattern of the first theme is the same as that of the famous ‘Fate’ motif that opens the Fifth Symphony; yet it is hard to imagine two movements less like each other than the driven, tragic Allegro con brio of the symphony and the serene Allegro moderato of this concerto. Continued overleaf

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LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

COMPOSER PROFILE LUDWIG VAN BEETHOVEN Amazingly, the Fourth Concerto managed to charm at least some of its audience even at that disastrous premiere. The writer J F Reichardt recalled the slow second movement as ‘a masterpiece of beautiful sustained melody,’ in which Beethoven ‘truly sang on his instrument with deep melancholy feeling.’ Actually it isn’t quite a ‘sustained’ melody. The Andante con moto unfolds as a dialogue between unison strings (initially aggressive, but gradually calmer) and lyrical piano. Liszt memorably compared this movement to the classical legend of Orpheus taming wild beasts with his music. This links into a wonderful high-spirited Rondo (a circular form, with the main theme recurring more-or-less regularly). Again, unusually for a Classical concerto, the soloist keeps up his fireworks right through the final orchestral tutti. Thus a concerto that begins with unprecedented modesty ends with a brazen appeal for thunderous applause.

Programme note © Stephen Johnson

The popular image of Beethoven as a morose individual who shunned society is only partly true. He did have a serious outlook on life, and in later years he had difficulty mixing with people because of his deafness. Yet he loved company, and had a ready wit. His letters contain many puns, and it was he who introduced the scherzo (literally, ‘joke’) into the symphony, when he used one in his Symphony No. 2 instead of the customary minuet. This second symphony already goes well beyond the models of Haydn and Mozart, the two chief influences on his style. Building on their example, Beethoven continually strove to stretch the bounds of music to new limits, whether in his seven surviving concertos, 16 string quartets, 35 piano sonatas or other works. Each of his nine symphonies (and an incipient tenth) is completely different from any previous one, and he showed similar originality in every major genre of the time, from his only opera Fidelio and his mighty Missa solemnis to his numerous settings of folk songs. He achieved his goal through a combination of natural genius and sheer hard work: every one of his major compositions is the result of painstaking refinement, evident in the many thousands of pages of musical sketches that he wrote. It is not always realised, however, that Beethoven was extraordinary in other ways too. Having no wife or family of his own, he spent enormous energy on helping his nephew, and he was deeply religious. Indeed his goodness and kindness were so evident to his contemporaries that at least three of them independently asserted that he was even greater as a human being than as a musician. Considering that many regard him as the greatest composer in history, such praise is astonishing. Yet it is the quality of his music that has ensured his lasting reputation, as the musical world marks his 250th anniversary in 2020. Although its novelty initially puzzled some of his contemporaries, repeated hearings and study of Beethoven’s music have shown that it is based on firm foundations. Its combination of beauty and unpredictability, extreme emotional depth and intellectual rigour, across so many genres, is unsurpassed and probably always will be. © Barry Cooper –6–

LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

PROGRAMME NOTES LUDWIG VAN BEETHOVEN 1770–1827

AH! PERFIDO, OP. 65 1796 – APPROX 15 MINS –

SOPHIE BEVAN SOPRANO The text and translation are on page 8. When, in 1792, the 22-year-old Beethoven left his native Bonn to study in Vienna, his patron Count Waldstein urged that he should ‘by diligent study, receive the spirit of Mozart from the hands of Haydn’. And one field in which Mozart excelled was that of the concert aria. Mozart wrote more than 50 such stand-alone arias, and he regarded them as supreme tests of his artistry, remarking that he ‘liked an aria to fit its singer like a well-tailored suit’. Beethoven didn’t think in quite those terms, and he wrote only a handful of concert arias. But this one, the most celebrated of all, has a particular connection to Mozart: Beethoven wrote it in Prague in the spring of 1796 for Countess Josephine de Clary, but it was performed in Leipzig on 21 November that year by Josefa Duschek: the soprano for whom Mozart had written his own concert aria Bella mia fiamma in 1787. In many ways, Beethoven follows Mozart’s formula – creating a miniature operatic scene in three parts.

A dramatic introduction throws us into the action in mid-flow: the soprano assumes the persona of a wronged lover, denouncing her faithless beloved (the text of this section was an off-the-peg lyric, taken from Achille in Sciro by Pietro Metastasio: the 18th century’s most admired tragic librettist). She pleads for him to stay, in a broad, expressive aria, and finally – with the words ‘Ah crudel!’ (Oh, cruel one!) – races off into a final denunciation that combines moments of deep pathos with a flashing brilliance perfectly tailored to help any soprano bring the house down. Programme note © Richard Bratby

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LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

TEXT & TRANSLATION BEETHOVEN AH! PERFIDO Ah! perfido, spergiuro, barbaro traditor, tu parti? e son questi gl’ultimi tuoi congedi? ove s’intese tirannia più crudel? Va, scelerato! va, pur fuggi da me, l’ira de’ Numi non fuggirai! Se v’è giustizia in Ciel, se v’è pietà, congiureranno a gara tutti a punirti! Ombra seguace! presente, ovunque vai, vedrò le mie vendette; io già le godo immaginando; i fulmini ti veggo già balenar d’intorno. Ah no! ah no! fermate, vindici Dei! risparmiate quel cor, ferite il mio! s’ei non è più qual era son’io qual fui, per lui vivea, voglio morir per lui.

Ah! treachery and falsehood! Deaf to my anguished cries, you leave me? Are these lame excuses your words of parting? How can you bear to deal me such a cruel blow? Go, wretched creature! Go, escape while you may! But you will never escape heavenly anger! And if the gods are just, if they are kind, they will conspire as rivals to see you punished! They shall avenge me! Wherever you are hiding, your torment will inspire me… It gives me pleasure to imagine the thunderbolts of heaven rain down on you in fury … Ah no! Ah no! You gods of vengeance, be patient! Spare the man that I love: the pain is mine now! Though I mean nothing to him, I cannot forget him; I lived for his sake and I shall die without him.

Per pietà, non dirmi addio, di te priva che farò? tu lo sai, bell’idol mio! io d’affanno morirò.

Ah, my love, how can you leave me, leave me here to weep and sigh? You must know that I will suffer, that in torment I will die.

Ah crudel! tu vuoi ch’io mora! tu non hai pietà di me? perchè rendi a chi t’adora così barbara mercè? Dite voi, se in tanto affanno non son degna di pietà?

Ah, you scorn my tears of anguish! Are you glad that I should die? You reject the love I offer and you laugh to see me cry? Gods in heav’n, am I not worthy of compassion in my plight?

Pietro Metastasio (1698–1782), from Achille in Sciro (1736)

English translation by David Parry

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LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

PROGRAMME NOTES LUDWIG VAN BEETHOVEN 1770–1827

SYMPHONY NO. 4 IN B FLAT MAJOR, OP. 60 1806 – APPROX 32 MINS –

1 ADAGIO – ALLEGRO VIVACE 2 ADAGIO 3 MENUETTO AND TRIO: ALLEGRO VIVACE 4 ALLEGRO MA NON TROPPO In the first years of the 19th century, Beethoven seems to have passed through a profound psychological crisis, prompted in part by his gradually encroaching deafness – and to have emerged from it bursting with creativity. The ‘Eroica’ Symphony, Third Piano Concerto and ‘Kreutzer’ Violin Sonata were completed in 1803; the first version of the opera Fidelio, Triple Concerto and ‘Appassionata’ Sonata for piano in 1805; and the Fourth Symphony, Fourth Piano Concerto, Violin Concerto and three ‘Rasumovsky’ string quartets all in 1806. Hard on their heels were to come the Mass in C and the Fifth and Sixth Symphonies. And what makes this astonishing list all the more remarkable is that it includes several works of ground-breaking originality. At first glance, the Fourth Symphony is not among these: its only obvious formal innovation is the expansion of the scherzo (misnamed Minuet) to include two appearances of the trio section; and it is less ambitious in scale and scoring than the symphonies flanking it. But, as Sir Donald Tovey wrote in his unfinished study of Beethoven, ‘the Fourth Symphony, coming between the Eroica and the C minor, is one of those masterpieces which many people insist on despising for being satisfied with its own size.’

In any case, the Symphony plays such games with size, scale and speed that it becomes difficult to tell what ‘its own size’ really is. The introduction to the first movement, with its slow tempo, open textures, and early introduction of a note foreign to the home key, immediately creates a sense of enormous space. The main Allegro vivace, although it begins with a reassuring emphasis on that home key, later uses excursions into remote tonal areas to suggest a similar kind of expansion. The Adagio is in effect in two speeds at once: its busy surface figuration, most of it based on the opening drum-tap figure, gives an impression of great activity; only through a few strategically placed ‘windows’ in the texture is the essential stillness of the movement fully revealed. Even the brisk scherzo, with its trio sections no more than ‘a little slower’, has an underpinning of harmonic stability which gives it a sense of greater breadth than is at first apparent. But in the perpetual-motion finale speed is genuinely of the essence – except at the Haydnesque moment just before the end when the headlong main theme suffers a sudden loss of momentum. Programme notes © Anthony Burton

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LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

TONIGHT'S ARTISTS DANIELE RUSTIONI CONDUCTOR

Daniele Rustioni’s third season as Principal Conductor of Opéra National de Lyon began with a new production of Rossini’s Guillaume Tell in October 2019, and continued with Verdi’s Ernani in Lyon and at the Théâtre des Champs Elysées in Paris, as well as a revival of the new production of Puccini’s Tosca, premiered at the Aix-en-Provence Festival during summer 2019.

Daniele Rustioni is one of the most compelling conductors of both operatic and symphonic works of his generation. Principal Conductor of Opéra National de Lyon since September 2017, he has also been Chief Conductor of the Ulster Orchestra since the start of the 2019/20 season. He was Principal Conductor of the Orchestra della Toscana between 2014–20. In 2013 he received the International Opera Award for Best Newcomer of the Year. Rustioni is in demand worldwide as a versatile conductor of symphonic music. He made his debut with the London Philharmonic Orchestra in November 2013, when he conducted the Orchestra in two concerts of Dvořák, Rossini and Mendelssohn in Brighton and Eastbourne. In January 2019 he made his American orchestral conducting debut with the Indianapolis Symphony Orchestra. He has conducted all the major Italian symphony orchestras and in the UK is a regular guest of the Hallé. International orchestral engagements during the 2019/20 season included his debut with the Essen Philharmonic Orchestra shortly before the outbreak of the COVID-19 pandemic, which affected the rest of the season including his debut with the Orchestre de Paris.

Daniele Rustioni has made regular appearances in Japan since his debut conducting Madama Butterfly at the Nikikai Opera in 2014, including performances with the Kyushu Symphony Orchestra and the Tokyo Symphony Orchestra. In May 2018 he returned to Japan for concerts with the Osaka Philharmonic and the Tokyo Metropolitan Symphony Orchestra. Rustioni has been engaged by many of the major international opera houses including the Royal Opera House, Bayerische Staatsoper, La Scala, Teatro Regio Torino, Teatro La Fenice, Opernhaus Zürich, Oper Stuttgart and Opéra Bastille. In April 2017 he made his critically acclaimed debut at the Metropolitan Opera, which led immediately to future re-invitations. In April 2019 he made his debut at the Teatro Real Madrid, conducting Laurent Pelly’s new production of Verdi’s Falstaff, now available on DVD. Daniele Rustioni’s discography includes Bellini’s Adelson e Salvini for Opera Rara with the BBC Symphony Orchestra, and the premiere recording of Wolf-Ferrari’s Violin Concerto with Francesca Dego and the City of Birmingham Symphony Orchestra on Deutsche Grammophon. A recording project for Sony Classical dedicated to the works of 20th-century Italian symphonic composers includes three releases of works by Federico Ghedini, Goffredo Petrassi and Alfredo Casella. With the Ulster Orchestra and Chandos he will embark on an exciting new venture, continuing the exploration of the 20th-century Italian symphonic repertoire under the label ‘Musica Italiana’.

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LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

TONIGHT'S ARTISTS NICOLAS NAMORADZE PIANO

Namoradze’s activities as the Honens Prize Laureate include recitals at London’s Wigmore Hall, Konzerthaus Berlin, Tokyo Bunka Kaikan, Gardner Museum (USA), 92nd Street Y (USA), Toppan Hall (Japan), and deSingel (Belgium); appearances at the Klavier-Festival Ruhr (Germany), Tanglewood (USA), Banff Centre for Arts and Creativity (Canada), Toronto Summer Music (Canada), Telavi Music Festival (Georgia), Miami International Piano Festival (USA), and the Santa Fe Chamber Music Festival (USA); recording releases on the Hyperion, Honens, Edition Klavier-Festival Ruhr, and Steinway labels; and performances with the Milwaukee Symphony, Calgary Philharmonic, Winnipeg Symphony and Windsor Symphony orchestras, among others. Tonight’s concert is his debut with the London Philharmonic Orchestra.

Pianist and composer Nicolas Namoradze, whose performances have been hailed by critics as ‘sparkling … sensitive and colouristic’ (New York Times) and ‘simply gorgeous’ (Wall Street Journal), came to international attention upon winning the 2018 Honens International Piano Competition in Calgary, Canada – among the largest competition prizes in classical music. The Calgary Herald called him ‘unparallelled’ and ‘a pianist’s pianist’, praising his ‘remarkable clarity of execution, refinement and variety of tone, and his uncanny ability to make even the most ordinary passagework sound meaningful and distinctive … Everywhere his interpretative skills commanded attention and admiration.’

After completing his undergraduate studies in Budapest, Vienna, and Florence, Namoradze moved to New York for his Master’s at The Juilliard School. He is currently pursuing his doctorate at the CUNY Graduate Center, holding the Graduate Center Fellowship. His teachers have included Emanuel Ax, Yoheved Kaplinsky, Zoltán Kocsis, Matti Raekallio and Elisso Virsaladze in piano, and John Corigliano in composition.

In February 2019 Namoradze gave a critically acclaimed, sold-out Carnegie debut at Zankel Hall in New York, about which ConcertoNet wrote: ‘[Namoradze] is a pianist who proved that, once in a while, the distinguished members of the jury make a good choice and select a winner who plays like a true artist; who impresses not with pyrotechnics but rather with keen intelligence, a rich tonal palette and refinement … It was a most auspicious debut by an artist representing that rare breed, a thinking virtuoso.’ – 11 –

LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

TONIGHT'S ARTISTS SOPHIE BEVAN

SOPRANO

Sophie Bevan studied at the Royal College of Music, where she was awarded the Queen Mother Rose Bowl Award. She was the recipient of the 2010 Critics’ Circle Award for Exceptional Young Talent, The Times Breakthrough Award at the 2012 South Bank Sky Arts Awards, the Young Singer award at the 2013 inaugural International Opera Awards, and was made an MBE for services to music in The Queen’s Birthday Honours in 2019.

Sophie made her debut with the London Philharmonic Orchestra and Choir in March 2019, when she was a soloist in Haydn’s The Seasons at Royal Festival Hall under Vladimir Jurowski. She also performs regularly with conductors such as Mark Elder, Edward Gardner, Andris Nelsons, Harry Christophers, Christian Curnyn and Harry Bicket. Recent engagements include Strauss’s Four Last Songs with the Philharmonia Orchestra at the Royal Festival Hall; Britten’s Les Illuminations with the BBC Philharmonic, the Radio Philharmonic Orchestra in Utrecht and the Aurora Orchestra at Wigmore Hall; and Knussen’s Songs and A Sea Interlude with the Swedish Radio Orchestra. She has appeared as a recitalist with pianists including Julius Drake, Malcom Martineau and Graham Johnson at the Amsterdam Concertgebouw and Wigmore Hall. Recent and future engagements include a BBC Proms concert with Robert Murray, Dalinda in concert performances of Handel’s Ariodante at the Royal Opera House, Ginevra in Ariodante at the Bolshoi, Governess in The Turn of the Screw for Garsington, Gluck’s Orfeo ed Euridice at the Edinburgh International Festival, and further appearances with English National Opera.

Her operatic roles include, most recently, Ilia (Idomeneo), Sophie (Der Rosenkavalier), Susanna (Le nozze di Figaro) and Pamina (Die Zauberflöte) at the Royal Opera House; the title role in The Cunning Little Vixen for Welsh National Opera; Hermione in Ryan Wigglesworth’s The Winter’s Tale for English National Opera; Melisande in Pelléas et Mélisande for Dresden Semperoper; Freia in Das Rheingold at Teatro Real, Madrid; and Governess in The Turn of the Screw for Garsington Opera. She made her debut at Glyndebourne Festival Opera as Michal in Saul, and at the Salzburg Festival and the Metropolitan Opera as Beatriz in Thomas Adès’s The Exterminating Angel.

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LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

ON STAGE TONIGHT FIRST VIOLINS Pieter Schoeman* LEADER

CELLOS Kristina Blaumane PRINCIPAL

Vesselin Gellev SUB-LEADER Kate Oswin Lasma Taimina

Pei-Jee Ng CO-PRINCIPAL Francis Bucknall David Lale Laura Donoghue Gregory Walmsley

Chair supported by Neil Westreich

Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe Katalin Varnagy

Chair supported by Sonja Drexler

Yang Zhang

Chair supported by Eric Tomsett

Martin Höhmann Catherine Craig Thomas Eisner

Chair supported by Bianca & Stuart Roden

DOUBLE BASSES Kevin Rundell* PRINCIPAL Sebastian Pennar CO-PRINCIPAL Hugh Kluger George Peniston Laura Murphy Chair supported by Friends of the Orchestra

SECOND VIOLINS Tania Mazzetti PRINCIPAL

Chair supported by Countess Dominique Loredan

Emma Oldfield Fiona Higham

Chair supported by David & Yi Buckley

Nancy Elan Nynke Hijlkema Kate Birchall Joseph Maher Ashley Stevens Marie-Anne Mairesse Sioni Williams

VIOLAS Richard Waters PRINCIPAL Ting-Ru Lai David Quiggle PRINCIPAL Laura Vallejo Benedetto Pollani Katharine Leek Naomi Holt Stanislav Popov

FLUTE Juliette Bausor PRINCIPAL OBOES Ian Hardwick* PRINCIPAL Alice Munday CLARINETS Thomas Watmough PRINCIPAL Chair supported by Roger Greenwood

Paul Richards*

BASSOONS Jonathan Davies PRINCIPAL Chair supported by Sir Simon Robey

Gareth Newman Simon Estell*

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HORNS John Ryan* PRINCIPAL Mark Vines CO-PRINCIPAL Martin Hobbs TRUMPETS Paul Beniston* PRINCIPAL James Fountain* PRINCIPAL Anne McAneney* TIMPANI Simon Carrington* PRINCIPAL Chair supported by Victoria Robey OBE

Henry Baldwin CO-PRINCIPAL * Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Andrew Davenport William & Alex de Winton Dr Barry Grimaldi Caroline, Jamie & Zander Sharp

LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

LONDON PHILHARMONIC ORCHESTRA

PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR VLADIMIR JUROWSKI PRINCIPAL CONDUCTOR DESIGNATE EDWARD GARDNER SUPPORTED BY MRS CHRISTINA LANG ASSAEL PRINCIPAL GUEST CONDUCTOR KARINA CANELLAKIS • LEADER PIETER SCHOEMAN SUPPORTED BY NEIL WESTREICH ARTISTIC DIRECTOR CRISTINA ROCCA • CHIEF EXECUTIVE DAVID BURKE • PATRON HRH THE DUKE OF KENT KG

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, releases CDs and downloads on its own 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. In July 2019 Edward Gardner was announced as the Orchestra’s Principal Conductor Designate, and will take up the position when Jurowski’s tenure concludes in September 2021. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Outside London, the Orchestra

has flourishing residencies in Brighton, Eastbourne and at Saffron Hall in Essex, 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 recent seasons included 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. 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.

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LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

PIETER SCHOEMAN LEADER

Chair supported by Neil Westreich 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.

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

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. It recently celebrated the 30th anniversary of its 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. Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. Over the lockdown period the LPO has sustained its relationship with UK and international audiences through ‘LPOnline’, reaching many thousands of people. From initial individual player performances recorded at home, to online engagement intitiatives such as its wellbeing strand Lean In and Listen, the Orchestra progressed over time to larger-scale split-screen performances, before finally being able to play together in small chamber groups for the free LPO Summer Sessions from Henry Wood Hall, as well as small-scale outdoor performances at Glyndebourne. This autumn the Orchestra returns at last to its Royal Festival Hall home to perform 13 fulllength concerts filmed live and streamed for audiences to enjoy at home via Marquee TV. lpo.org.uk

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later, while studying with Jack de Wet, 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 London’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin and Martin Helmchen. Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim. Pieter has appeared 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 Concertmaster with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music & Dance in London. He has given public masterclasses in Los Angeles, New York, Wrocław, Shanghai, Taipei and London. Pieter proudly plays strings by Thomastik-Infeld.

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LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

MORE ONLINE CONCERTS THIS AUTUMN WEDNESDAY 25 NOVEMBER 2020

WEDNESDAY 9 DECEMBER 2020

Penderecki Sinfonietta No. 1* Schubert Symphony No. 3 Lotta Wennäkoski Verdigris (London premiere) Sibelius Symphony No. 5

J S Bach Orchestral Suite No. 1 Elena Kats-Chernin Piano Concerto No. 3 (European premiere) Enescu Decet, Op. 14* Enescu Chamber Symphony*

Hannu Lintu conductor *Please note change of work from originally advertised.

Vladimir Jurowski conductor Tamara-Anna Cislowska piano

Concert supported by the

This concert is supported in part by the Adam Mickiewicz Institute through Polska Music Programme and their partnership with LOT Polish Airlines.

*Generously supported by the Romanian Cultural Institute.

WEDNESDAY 16 DECEMBER 2020 WEDNESDAY 2 DECEMBER 2020 Prokofiev Symphony No. 1 (Classical) Anders Hillborg Bach Materia Schubert Overture in B flat, D470 Schubert Symphony No. 5 Thomas Søndergård conductor Pekka Kuusisto violin

SATURDAY 5 DECEMBER 2020 Ravel Le tombeau de Couperin Schubert Symphony No. 6 Jonathan Dove Vadam et circuibo civitatem (a cappella) Prokofiev Piano Concerto No. 3 Thomas Søndergård conductor Alexander Gavrylyuk piano London Philharmonic Choir

J S Bach Brandenburg Concerto No. 5 Brett Dean The Players (UK premiere) Stravinsky Pulcinella (complete) Vladimir Jurowski conductor Pieter Schoeman violin (Chair supported by Neil Westreich) Juliette Bausor flute Catherine Edwards harpsichord Bartosz Glowacki accordion* Angharad Lyddon soprano Sam Furness tenor Matthew Rose bass* Generously supported by Cockayne – Grants for the Arts and The London Community Foundation.

*Please note changes of soloists from originally advertised.

WEDNESDAY 30 DECEMBER 2020 Vivaldi Overture, La verità in cimento Spohr Symphony No. 2 Honegger Pastorale d’été Bliss Rout James MacMillan Sinfonietta Vladimir Jurowski conductor Mary Bevan soprano – 16 –

PLAY ON APPEAL HELP US CONTINUE TO SHARE THE WONDER OF MUSIC WITH EVERYONE Whether you are a seasoned concert-goer or new to orchestral music, we are delighted to present our autumn season of concerts, on Marquee TV, free of charge for everyone for the first seven days of broadcast. As you enjoy this performance please consider, if you are able, making a donation to support the Orchestra. The LPO has always been an orchestra of the people, for the people, and is driven by an inclusive spirit. Despite facing an uncertain future because of the ongoing devastating impact of the COVID-19 pandemic, we are committed to sharing as much music as possible: to delivering world-class performances to global audiences; to inspiring school students of all ages at our BrightSparks concerts and recordings; to nurturing a fully-inclusive next generation of talented instrumentalists and composers; and to enriching the lives of disadvantaged people and people with disabilities of all ages through the power of music. We may be back on stage, but with the doors to our concerts sadly closed and with no box office income, it is only with your help that we can continue to provide these concerts and our vital Education and Community Programme. With the help of our generous supporters we have made great progress back to the concert platform and are another step closer to returning as the Orchestra you know and love. With your help we will still be here when the time comes to throw our open our doors and welcome you back into the hall to be inspired, moved, challenged and uplifted by the music of the London Philharmonic Orchestra. Thank you to everyone who has supported our Play On Appeal so far. It is with your kind support that we have been able to build back the Orchestra to return to the concert platform for our autumn season.

HELP US PLAY ON To make a donation visit lpo.org.uk/donate or call Rosie Morden, Individual Giving Manager, on 020 7840 4212

LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

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 Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust William & Alex de Winton Mr & Mrs Philip Kan Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family Associates An anonymous donor Steven M. Berzin Irina Gofman & Mr Rodrik V. G. Cave Gill & Garf Collins Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein Gold Patrons An anonymous donor David & Yi Buckley In memory of Allner Mavis Channing Andrew Davenport Sonja Drexler Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood Francis & Marie-France Minkoff Dame Theresa Sackler Eric Tomsett Andrew & Rosemary Tusa The Viney Family Jenny Watson CBE

Silver Patrons Dr Christopher Aldren David Burke & Valerie Graham The Rt Hon. The Lord Burns GCB Bruno De Kegel Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar John & Angela Kessler The Metherell Family Andrew Neill Mikhail Noskov & Vasilina Bindley Laurence Watt Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Mr Philip Bathard-Smith Sir Peter Bazalgette Sally Bridgeland In memory of Julie Bromley The Earl & Countess of Chichester Mr John H Cook Howard & Veronika Covington David Ellen David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton Malcolm Herring The Jackman Family Jan & Leni Du Plessis Jamie & Julia Korner Rose & Dudley Leigh Drs Frank & Gek Lim Geoff & Meg Mann Mrs Elizabeth Meshkvicheva Peter & Lucy Noble Mr Michael Parlof Marianne Parsons Dr Wiebke Pekrull Jacopo Pessina Mr Roger Phillimore Gillian Pole Mr Michael Posen Sir Bernard Rix Tom & Phillis Sharpe Matthew Stephenson & Roman Aristarkhov Charlotte Stevenson Mr Robert Swannell Tony & Hilary Vines Mr & Mrs John C Tucker

Mr & Mrs John & Susi Underwood Marina Vaizey Mr John Weekes Christopher Williams Principal Supporters Anonymous donors Dr Manon Antoniazzi Mr Mark Astaire Sir John Baker Mrs A Beare Mr Anthony Boswood Mr Bernard Bradbury Dr Carlos Carreno Desmond & Ruth Cecil Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Mrs Sam Dawson Mr Simon Douglas Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby Mr Stephen Goldring Mr Milton Grundy Nerissa Guest & David Foreman The Jeniffer & Jonathan Harris Charitable Trust Michael & Christine Henry J Douglas Home Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mr Gerald Pettit Mr James Pickford Michael & Carolyn Portillo Mr Christopher Querée Mr Robert Ross Mr David Russell Priscylla Shaw Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Howard & Sheelagh Watson Mr John Wright

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Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Julian & Annette Armstrong Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Andrew Botterill Julian & Margaret Bowden & Mr Paul Michel Mr Lawrence Alfred Bradley Richard & Jo Brass Mr Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Christopher Fraser OBE Mrs Adele Friedland & Friends Mr Daniel Goldstein Mr & Mrs Jeffrey Herrmann Dr Joan Hester Mr David Hodgson The Jackman Family Mr Justin Kitson Richard & Briony Linsell Mr David MacFarlane Dame Jane Newell DBE Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr Kenneth Shaw Ruth Silvestre Barry & Gillian Smith Ms Natalie Spraggon & David Thomson Ms Mary Stacey Ms Janette Storey Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Joanna Williams Mr C D Yates Mr Anthony Yolland

LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

THANK YOU – CONTINUED –

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) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA) Thomas Beecham Group Members David & Yi Buckley The Candide Trust Gill & Garf Collins Andrew Davenport William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker

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 Jill Dyal Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole

Connecticut Gala Committee Bea Crumbine & Jill Dyal Co-Chairmen Rodica Brune Mandy DeFilippo Rachel Franco Nick Gutfreund Mary Hull Steve Magnuson Natalie Pray Victoria Robey OBE Lisa & Scot Weicker Corporate Donors AT&T Barclays L Catterton CHANEL Fund for Women in the Arts and Culture Paul Hastings LLP Payne Hicks Beach Pictet Bank Velocity Black White & Case LLP

Preferred Partners After Digital Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Lawson Trust Andrew Lloyd Webber Foundation

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Lord & Lady Lurgan Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation The Steel Charitable Trust The Thomas Deane Trust The Thriplow Charitable Trust The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous. The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the current pandemic.

LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

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 Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Valentina & Dmitry Aksenov Richard Buxton The Candide Trust Michael & Elena Kroupeev Kirby Laing Foundation Mr & Mrs Makharinsky Alexey & Anastasia Reznikovich Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas John & Manon Antoniazzi Gabor Beyer, through BTO Management Consulting AG Jon Claydon Mrs Mina Goodman & Miss Suzanne Goodman Roddy & April Gow The Jeniffer & Jonathan Harris Charitable Trust Mr James R.D. Korner Christoph Ladanyi & Dr Sophia LadanyiCzernin Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Mr Paris Natar The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Mr Clive Butler Gill & Garf Collins Mr John H Cook Mr Alistair Corbett Bruno De Kegel Georgy Djaparidze David Ellen Christopher Fraser OBE David & Victoria Graham Fuller Goldman Sachs International Mr Gavin Graham Moya Greene Mrs Dorothy Hambleton Tony & Susie Hayes Malcolm Herring Catherine Høgel & Ben Mardle Mrs Philip Kan Rehmet Kassim-Lakha de Morixe Rose & Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Duncan Matthews QC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation The Rind Foundation Sir Bernard Rix David Ross & Line Forestier (Canada) 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

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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 CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

MEMBERSHIPS AND DONATIONS There are many ways in which you can support the LPO at this time: by making a donation, joining as a member, or buying a gift membership for someone else. With your help we can ensure that this Orchestra will not only survive, but thrive. However you choose to give at this time, we remain committed to our supporters and will continue to deliver a range of benefits and exclusive opportunities.

Friends

Benefactors

Support the orchestra that you love. Get priority booking for our Southbank Centre concerts plus access to final rehearsals.

Join a circle of dedicated supporters and get access to the Beecham Bar, special events and Glyndebourne.

From £60

From £600

Gifts in wills

Thomas Beecham Group

Help others to experience the wonder of music by remembering the Orchestra in your will.

Give a major supporting gift and build significant relationships within the Orchestra. Donors can choose to have their gift associated with a player’s chair. From £5,000

lpo.org.uk/support/individuals 020 7840 4212 – 22 –

CORPORATE PARTNERSHIPS Partner with the London Philharmonic Orchestra and enjoy the opportunity to align your business with a world-class orchestra who are committed to delivering music throughout the pandemic.

Principal Partner

OrchLab Project Partner

Whether streaming from the concert stage to a global audience, or delivering as much Education and Community work as possible to children, talented young musicians and people with disabilities, the LPOâ&#x20AC;&#x2122;s activity is varied, engaging, and delivers meaningful benefits to its audiences, participants and partners. A partnership with the LPO offers companies significant brand exposure and an opportunity to meet CSR needs at a time when charitable community work is facing severe disruption.

Principal Supporters

lpo.org.uk/corporate 020 7840 4210 Andrew Lloyd Webber Foundation

Andrew Lloyd Webber Foundation

Andrew Lloyd Webber Foundation Andrew Lloyd Webber Foundation

LONDON PHILHARMONIC ORCHESTRA • 11 NOVEMBER 2020

LPO ADMINISTRATION BOARD OF DIRECTORS Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Tania Mazzetti* Stewart McIlwham* Pei-Jee Ng* Andrew Tusa Mark Vines* David Whitehouse* * Player-Director

GENERAL ADMINISTRATION

ADVISORY COUNCIL Martin Höhmann Chairman Robert Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Helen Brocklebank Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Jamie Njoku-Goodwin Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Chris Viney Laurence Watt Elizabeth Winter

Alison Jones Concerts and Recordings Co-ordinator

Cristina Rocca Artistic Director David Burke Chief Executive CONCERT MANAGEMENT Roanna Gibson Concerts Director

Grace Ko Tours Manager

Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Damian Davis Transport Manager

Christina McNeill Corporate Relations Manager