London Philharmonic Orchestra 25 Nov 2017 Brighton concert programme by London Philharmonic Orchestra

b e m ov e d IN BRIGHTON

2017/18 Season at Brighton Dome Concert Hall Concert programme

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

Brighton Dome Concert Hall Saturday 25 November 2017 | 7.30pm

J S Bach Brandenburg Concerto No. 3 in G major, BWV 1048 (10’) Vivaldi Concerto for Violin and Cello in B flat major, RV 547 (11’) J S Bach Concerto for Two Violins in D minor, BWV 1043 (16’) Interval (20’) Vivaldi The Four Seasons, Op. 8 Nos. 1–4 (39’)

Pieter Schoeman violin/director* Kevin Lin violin Pei-Jee Ng cello * Pieter Schoeman’s chair in the LPO is generously supported by Neil Westreich.

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

Contents 2 Welcome Orchestra news 3 On stage tonight Pieter Schoeman 4 Kevin Lin Pei-Jee Ng 5 Vesselin Gellev LPO at Wigmore Hall 6 About the Orchestra 7 Das Rheingold: A Golden Gala Evening 8 Programme notes 12 Next concerts 13 Sound Futures donors 14 Supporters 16 LPO administration

Welcome

Welcome to Brighton Dome Chief Executive Andrew Comben We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following: LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks.

Orchestra news

hank you for joining us here at Brighton Dome for tonight’s concert by the London Philharmonic Orchestra. We hope you enjoy this evening's performance. We look forward to returning to Brighton Dome for two more concerts in the New Year: see page 12 for details. In the meantime we would like to take this opportunity to wish all our audiences in Brighton a very happy Christmas, and hope you will be able to join us again in 2018. Find out more about all our performances at lpo.org.uk

SMOKING Brighton Dome is a no-smoking venue. INTERVAL DRINKS may be ordered in advance at the bar to avoid queues. PHOTOGRAPHY is not allowed in the auditorium. RECORDING is not allowed in the auditorium. MOBILES, PAGERS AND WATCHES should be switched off before entering the auditorium. Thank you for your co-operation. The concert at Brighton Dome on 25 November 2017 is presented by the London Philharmonic Orchestra in association with Brighton Dome.

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

LPO Junior Artists: Overture Today we have been running our first LPO Junior Artists Overture Day in Brighton. These immersive events offer young people aged 11–14 the chance to become part of the LPO for a day and get involved in exciting behind-the-scenes action. LPO Junior Artists is our new annual programme for talented teenage musicians from backgrounds under-represented in orchestral music, and our Junior Artists Overture Days offer taster activities to younger players, with the opportunity to find out more about the main scheme. Today our Junior Artists Overture players have met and played alongside LPO musicians and Junior Artists alumni, observed part of the LPO’s rehearsal, explored creative improvisation and found out how to take their next steps in music. For more information about Junior Artists Overture, head to our website: lpo.org.uk/overture

Christmas gifts from the LPO Stuck for Christmas present ideas for the music lover in your life? The London Philharmonic Orchestra has a fantastic range of gifts on offer. How about ... • A year’s membership of our Friends or Contemporaries scheme • An annual CD subscription with a brand new release delivered directly to the recipient each month • LPO gift vouchers (available for any amount from £1) that are valid for a year and can be used to buy LPO concert tickets or CDs Browse the full selection at lpo.org.uk/gifts or call the LPO Ticket Office on 020 7840 4242.

2 | London Philharmonic Orchestra

Pieter Schoeman

On stage tonight

director/violin Leader, London Philharmonic Orchestra

Pieter Schoeman* director/violin

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

Chair supported by Neil Westreich

First Violins Kevin Lin Leader Vesselin Gellev Leader (Bach Concerto for Two Violins) JiJi Lee Katalin Varnagy Chair supported by Sonja Drexler

Martin Höhmann† Second Violins Tania Mazzetti Principal Marie-Anne Mairesse Joseph Maher Martin Höhmann Violas David Quiggle Principal Robert Duncan Gregory Aronovich Cellos Pei-Jee Ng Principal Elisabeth Wiklander David Lale Double Bass Kevin Rundell* Principal Harpsichord Catherine Edwards * Holds a professorial appointment in London † Bach Concerto for Two Violins only

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Molly & David Borthwick • David & Yi Buckley The Candide Trust • Andrew Davenport William & Alex de Winton • Friends of the Orchestra Dr Barry Grimaldi • Geoff & Meg Mann Sir Simon Robey • Victoria Robey OBE Bianca & Stuart Roden • Caroline, Jamie & Zander Sharp Laurence Watt

Kevin Lin violin Pei-Jee Ng cello

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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Kevin Lin

Pei-Jee Ng

violin

cello

Co-Leader, London Philharmonic Orchestra

Co-Principal Cello, London Philharmonic Orchestra

Originally from New York, Kevin has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Houston Symphony and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster and Principal Second Violin at The Colburn School and The Curtis Institute of Music. An avid chamber musician, Kevin has collaborated with the Tokyo and Ebène quartets, Edgar Meyer, MengChieh Liu, John Perry, Hal Robinson of The Philadelphia Orchestra and Andrew Bain of the Los Angeles Philharmonic. In recent years he has received prizes from the Irving M. Klein International Competition and the Schmidbauer International Competition, and competed in the George Enescu International Violin Competition and the Menuhin International Violin Competition. Kevin spent his early years studying with Patinka Kopec in New York, before going on to study with Robert Lipsett at The Colburn School in Los Angeles, where he received his Bachelor of Music degree. He then continued his studies at The Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.

Australian cellist Pei-Jee Ng joined the London Philharmonic Orchestra as Co-Principal Cello in 2015.

Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017.

Pei-Jee was the 2001 Symphony Australia Young Performer of the Year and won the 2008 Young Concert Artists Trust auditions in London. In addition to the six major Australian symphony orchestras, he has performed concertos with the Hong Kong Philharmonic, Malaysian Philharmonic, Singapore Symphony, Oulu Symphony, Sinfonia ViVA and Estonian National Symphony, and made his debut with the Philharmonia Orchestra at the 2011 Chichester Festivities, performing the Elgar Concerto. As a soloist and recitalist he has performed in venues including Carnegie Hall, Lincoln Centre, Konzerhaus Berlin, Wigmore Hall, Purcell Room and Sydney Opera House and appeared in festivals including the Winchfield, Newbury Spring, Corsham, and Gower Festivals in the UK, the Sounding Jerusalem, Adelaide International Cello Festival, Steierisches Kammermusikfestival and Festspiele MecklenburgVorpommern. A committed chamber musician, Pei-Jee is cellist of the Fournier Trio, winners of the 2013 Parkhouse Award and 2nd Prize at the 2011 Trondheim International Chamber Music Competition. His collaboration with pianist Chiao-Ying Chang won them the Libero Lana Prize at the 2011 Trieste International Chamber Music Competition. Pei-Jee began cello studies with Barbara Yelland and Janis Laurs in Adelaide before moving to the UK to study extensively with Hannah Roberts and Ralph Kirshbaum in Manchester. He completed his studies at the Royal Academy of Music with Jo Cole, Colin Carr and Sung-Won Yang, and received the prestigious Queen’s Award for Excellence.

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Vesselin Gellev

Sub-Leader, London Philharmonic Orchestra

Praised by the New York Times for his ‘warmth and virtuosic brilliance’, Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammynominated Absolute Ensemble. Prior to joining the LPO as Sub-Leader in 2007, Vesselin was Leader of the New Haven Symphony Orchestra in the USA and the Spoleto Festival Orchestra in Italy. He has also performed as Guest Leader with numerous orchestras in the UK and abroad including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra, MDR Leipzig Radio Symphony Orchestra, Stavanger Symphony Orchestra and Accademia Nazionale di Santa Cecilia. Vesselin received Bachelor and Master of Music degrees from The Juilliard School, New York, as a student of Robert Mann. He has served on the violin and chamber music faculties of Cornell University in Ithaca, NY and the Eleazar de Carvalho Music Festival in Fortaleza, Brazil.

Inspiration and

joy

Tuesday 28 November 2017 7.30pm Wigmore Hall , london soloists of the London Philharmonic Orchestr a ˇ áK STRING SEXTET DVOr SCHUBERT OCTET Tickets £15/£20/£26/£32/£37+feeS Book now at lpo.org.uk or call 020 7840 4242

London Philharmonic Orchestra | 5

London Philharmonic Orchestra

The LPO musicians really surpassed themselves in playing of élan, subtlety and virtuosity. Matthew Rye, Bachtrack, 24 September 2017 (Enescu’s Oedipe 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 Belief festival in partnership with Southbank Centre

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continues to the end of 2017, exploring what it means to be human in the 21st century. Then, in 2018, we explore the life and music of Stravinsky in our new 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: the 2016/17 season included visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland, and tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download. Recent additions include Beethoven’s Symphonies Nos. 1 and 4 conducted by Kurt Masur; Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; and Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski. 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.

Das Rheingold: A Golden Gala Evening Saturday 27 January 2018 6.00pm Royal Festival Hall

Wagner Das Rheingold Vladimir Jurowski conductor with soloists including Sofia Fomina, Anna Larsson, Matthias Goerne and Matthew Rose

Celebrate Vladimir Jurowski’s 10th year as LPO Principal Conductor by joining us for this Golden Gala Evening at Royal Festival Hall. As well as standard concert tickets, we are offering special packages including pre- and post-concert receptions and the chance to meet the musicians who will bring Wagner’s great music drama to the stage.

lpo.org.uk/vj10

lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

Generously supported by members of the Orchestra’s Ring Cycle Syndicate and patrons of our Golden Gala Evening.

youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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Programme notes

Speedread The Italian genre of the concerto entered a new phase in early 18th-century Venice, with a standardised form of three movements, fast, slow and fast, and an emphasis on virtuoso display and expressive lyricism in the solo parts. The influence of this new type of concerto spread rapidly across Europe, thanks largely to the publication of many examples in Amsterdam. In Germany, Johann Sebastian Bach took up the new form with enthusiasm, but characteristically gave it an individual twist: in the third of his ‘Brandenburg Concertos’ by treating every member of the ninepart string ensemble as a soloist; in his celebrated

Johann Sebastian Bach 1685–1750

In March 1721, Bach, then director of music to the Prince of Anhalt-Cöthen, put together a set of six ‘Concertos for several instruments’ for presentation to another aristocratic patron, the Margrave of Brandenburg – presumably in the hope of future employment, though if so he was to be disappointed. These ‘Brandenburg Concertos’ were not specially written, but were fair-copied or adapted from existing works by Bach in the repertoire of the Cöthen court orchestra. Some of them are based on the concerto’s traditional opposition between a group of soloists and the main orchestra; but two, the Third and Sixth, are conceived as chamber music for solo strings and continuo (the baroque ‘rhythm section’ playing the bass line and harmonic filling-in above it).

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Concerto for Two Violins by endowing the music with exceptional richness and intensity of thought and expression. The outstanding Venetian composer of the period was the violinist, priest and teacher Antonio Vivaldi. His Double Concerto in B flat major for Violin and Cello is a typical, and striking, example of his art. But his most famous set of concertos, published in Amsterdam, departs from the Venetian norm, by being conceived as detailed depictions of the pleasures (and occasionally the hardships) of rural life in the cycle of the Four Seasons.

Brandenburg Concerto No. 3 in G major, BWV 1048 1 Allegro 2 Adagio – 3 Allegro

No. 3 is scored for the unique combination of three violins, three violas and three cellos, with a continuo accompaniment of violone (or double bass) and harpsichord. Even without the division into soloists and orchestra, the breathtakingly energetic first movement has the outline of a concerto Allegro of the time, with recurring, varied orchestral statements (‘ritornelli’) alternating with episodes highlighting different sections or soloists in succession – sometimes quick succession. After this movement, Bach wrote no more than a pair of chords, forming the kind of cadence which might end a movement in E minor. No-one knows for sure whether he envisaged these chords as the conclusion to a borrowed or improvised slow movement, or as the harmonic frame for an improvised cadenza. The latter approach is adopted in this performance, with the cadenza on the harpsichord.

The finale is slightly less concerto-like than the first movement, with a plan more typical of dance movements, two repeated ‘halves’ (the second actually longer than the first). The scoring is slightly simplified, too, with the three cellos and the continuo bass in unison all the way through – though, with the violins still in three separate parts and the violas occasionally dividing as well, the effect is still of a kaleidoscopic richness of texture.

Antonio Vivaldi 1678–1741

Bach’s models for his concertos were the concertos published in Amsterdam in the early years of the 18th century by a group of Venetian composers led by Vivaldi. These were of a new kind compared with those of the previous generation, with an outline of three movements, fast, slow and fast, providing the soloist or soloists with an ideal showcase for virtuosity and lyrical expressivity. This double Concerto for violin and cello, with fourpart strings and continuo, was not published in Vivaldi’s lifetime, but was preserved in manuscript. It was probably written as part of his duties as director of concerts at the Pietà, the convent and orphanage on the Venetian waterfront which also acted as a conservatoire, in which the girls were given the opportunity to excel on a wide variety of instruments.

Concerto for Violin and Cello in B flat major, RV 547 Pieter Schoeman violin Pei-Jee Ng cello 1 Allegro 2 Andante 3 Allegro molto

The first Allegro is an outstanding example of Vivaldi’s concerto writing, with a substantial opening ritornello presenting a sequence of memorable ideas to be shuffled and varied during the rest of the movement, and solo episodes in which the violin and cello sometimes exchange ideas and sometimes converge in parallel lines, while gradually generating momentum. The central Andante has the texture of a trio sonata, with the solo violin and cello, the latter mostly in its upper register, sharing the melodic lead, accompanied only by the continuo. The finale is in a fast triple time, suggesting rapid movement on horseback; the soloists are given more extended solos than in the first movement, enhancing the effect when they join forces.

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Programme notes continued

Johann Sebastian Bach

Concerto for Two Violins in D minor, BWV 1043 Pieter Schoeman | Kevin Lin violins 1 Vivace 2 Largo ma non tanto 3 Allegro

This justly famous double Concerto probably dates, like most of Bach’s concertos, from his years at the Cöthen court, 1717 to 1723. It is scored for a combination that Bach would have encountered in some of Vivaldi’s published concertos, that of two solo violins with four-part string orchestra and continuo. As with many of the Cöthen concertos (including, it is thought, some otherwise lost), Bach later arranged it for solo harpsichords, to be played at meetings of the Leipzig Collegium Musicum. But this version has been all but ignored in favour of the original – not surprisingly, since the solo parts are so perfectly written for the violin, both technically and in the balance they strike between the instrument’s twin qualities of brilliance and lyricism. The first movement reveals with unusual clarity two fundamental aspects of Bach’s compositional style: the way in which he quite naturally thought in terms of fugue – as in the opening orchestral ritornello, which is an accompanied three-part fugal exposition; and the

way in which a single instrumental line in his music gains in richness by carrying within it the implications of two-part counterpoint – as in the leaping theme of the first and last solo episodes. The sublime slow movement (but note that ma non tanto – not so slow) indicates how the texture of the trio sonata, two upper parts and accompaniment, was central to Bach’s musical thought. The whole movement consists of the intertwinings of the two solo violins over the gently swinging bass line, with the rest of the strings providing no more than an amplification of the harpsichord’s harmonic filling-in. The final Allegro is a reminder that Bach was as capable of making capital out of the tiniest of motifs as were Haydn and Beethoven in their time. Its first three notes recur throughout the movement in one form or another, helping to propel it onwards with apparently inexhaustible energy.

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

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Antonio Vivaldi

The Four Seasons, Op. 8 Nos. 1–4 Pieter Schoeman director/violin

1678–1741

Violin Concerto No. 1 in E major, RV 269, ‘La primavera’ (Spring) 1 Allegro 2 Largo e pianissimo sempre 3 Danza pastorale: Allegro Violin Concerto No. 2 in G minor, RV 315, ‘L’estate’ (Summer) 1 Allegro non molto 2 Adagio 3 Presto Violin Concerto No. 3 in F major, RV 293, ‘L’autunno’ (Autumn) 1 Allegro 2 Adagio 3 Allegro Violin Concerto No. 4 in F minor, RV 297, ‘L’inverno’ (Winter) 1 Allegro non molto 2 Largo 3 Allegro

Vivaldi’s best known work, now as in his lifetime, is the cycle of four violin concertos called The Four Seasons. These begin his Op. 8 collection, Il Cimento dell’Armonia e dell’Inventione or ‘The trial of harmony and invention’, published in Amsterdam at the end of 1725 – though it is clear from the foreword to this edition that they had been written and circulated in manuscript some years earlier. The concertos are typical of Vivaldi in their scoring for solo violin with four-part string orchestra and continuo, and in their three-movement outlines.

But they are unique in forming a cycle, and in their detailed and literal depiction of sounds, feelings and activities associated with the four seasons in the countryside – which at times, notably in the first movement of Summer, is even allowed to drive the standard ritornello form off course. The first edition provided a guide to each concerto in the shape of a descriptive sonnet, printed as a preface and then referred to, a line at a time, through a system of code letters at the appropriate points in each movement. But most of the musical imagery is in any case quite clear. In the first concerto, Spring arrives, with birdsong and a murmuring brook, interrupted by a storm; a goatherd sleeps in the meadow, his faithful dog by his side; and nymphs and shepherds dance to the sound of bagpipes. In the second concerto, in the drowsy heat of Summer, more birds are calling, but an unexpected north wind causes a shepherd alarm; his rest briefly soothes his fears; but a violent thunderstorm does indeed arise. In Autumn, the country people celebrate the harvest with dancing and singing, and the wine flows freely; the whole company falls into a deep sleep; but at dawn, the huntsmen ride out with horns, guns and dogs, and track down their quarry. Finally, Winter is a time of freezing cold, of stamping feet and chattering teeth; indoors by the fire, everything is peaceful; but outdoors the ice is dangerous, and strong winds blow. Programme notes © Anthony Burton

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be m ov e d i n BR I G H TON

Next LPO concerts at Brighton Dome Concert Hall

Petrenko & Scheherazade Saturday 24 February 2018 7.30pm

Discover Hollywood Saturday 14 April 2018 7.30pm

Vasily Petrenko conducts Rimsky-Korsakovâ&#x20AC;&#x2122;s Scheherazade alongside music by Tchaikovsky and Berlioz.

Discover Rachmaninoffâ&#x20AC;&#x2122;s Hollywood in the chromeplated dazzle of his gorgeous Third Symphony.

Book now at brightondome.org or call 01273 709709 Season discounts of up to 20% available

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

Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Lady Jane Berrill Welser-Möst Circle Mr Frederick Brittenden William & Alex de Winton David & Yi Yao Buckley John Ireland Charitable Trust Mr Clive Butler The Tsukanov Family Foundation Gill & Garf Collins Neil Westreich Mr John H Cook Tennstedt Circle Mr Alistair Corbett Valentina & Dmitry Aksenov Bruno De Kegel Richard Buxton Georgy Djaparidze The Candide Trust David Ellen Michael & Elena Kroupeev Christopher Fraser OBE & Lisa Fraser Kirby Laing Foundation David & Victoria Graham Fuller Mr & Mrs Makharinsky Goldman Sachs International Alexey & Anastasia Reznikovich Mr Gavin Graham Sir Simon Robey Moya Greene Bianca & Stuart Roden Mrs Dorothy Hambleton Simon & Vero Turner Tony & Susie Hayes The late Mr K Twyman Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO ManageRose & Dudley Leigh ment Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss SuDuncan Matthews QC zanne 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 Sir Bernard Rix The Maurice Marks Charitable Trust David Ross & Line Forestier (Canada) Mr Paris Natar Carolina & Martin Schwab The Rothschild Foundation

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 Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

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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 Alexander & Elena Djaparidze Mr & Mrs Philip Kan Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Associates Kay Bryan William & Alex de Winton Virginia Gabbertas Oleg & Natalya Pukhov Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Hamish & Sophie Forsyth Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan Mr & Mrs Makharinsky Geoff & Meg Mann Tom & Phillis Sharpe The Viney Family Laurence Watt Guy & Utti Whittaker

Silver Patrons Michael Allen Mrs Irina Gofman David Goldberg Mr Gavin Graham Pehr G Gyllenhammar Catherine Høgel & Ben Mardle Matt Isaacs & Penny Jerram Mrs Elizabeth Meshkvicheva The Metherell Family 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 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 Mr Roger Greenwood Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home Mr Glenn Hurstfield Rose & Dudley Leigh Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble

14 | London Philharmonic Orchestra

Noel Otley JP & Mrs Rachel Davies Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Anonymous Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein 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 Roger & Clare Barron Mr Geoffrey Bateman Gabor Beyer, through BTO Management Consulting AG David & Patricia Buck Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Peter Cullum CBE Mr Timonthy Fancourt QC Marie-Laure Favre-Gilly de Varennes de Beuill Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Mr Ralph Kanza 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 Martin & Cheryl Southgate Matthew Stephenson & Roman Aristarkhov Mr Christopher Stewart Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer Sabina Fatkullina Mrs Janet Flynn Christopher Fraser OBE 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 Christopher Queree 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 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 Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Corporate Donors Arcadis Christian Dior Couture Fenchurch Advisory Partners Giberg Goldman Sachs Pictet Bank White & Case LLP Corporate Members Gold Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Accenture Ageas BTO Management Consulting AG Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Fevertree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations ABO Trust The Boltini Trust 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 Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation 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 The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation

UK Friends of the FelixMendelssohn-BartholdyFoundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

London Philharmonic Orchestra | 15

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President 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

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education and Community Director

Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Project Manager