London Philharmonic Orchestra 21 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 Saturday 21 April 2018 | 7.30pm

Anders Hillborg Mantra – Elegy (Homage to Stravinsky) (world premiere)* (6’) Falik Elegiac Music in memory of Igor Stravinsky (11’) Stravinsky Ode (11’) Interval (20’) Beethoven Violin Concerto in D major, Op. 61 (42’)

Vladimir Jurowski conductor Gil Shaham violin * Commissioned by the London Philharmonic Orchestra with the support of the Ernst von Siemens Music Foundation, and the Aspen Music Festival.

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

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 Gil Shaham 10 Programme notes 15 Recommended recordings Next concerts 16 2018/19 season: on sale now 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

Orchestra news

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, 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 We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

LPO at the 2018 BBC Proms Earlier this week saw the announcement of the 2018 BBC Proms season, and we’re delighted that the LPO will make two appearances at the Royal Albert Hall this summer. On Tuesday 17 July we will take part in a concert performance of the Glyndebourne Festival production of Debussy’s opera Pelléas et Mélisande, conducted by Glyndebourne Music Director Robin Ticciati. On Thursday 30 August the LPO, under its Principal Guest Conductor Andrés Orozco-Estrada, will give a performance of Verdi’s Requiem with the London Philharmonic Choir and soloists. Booking for all Proms concerts opens on Saturday 12 May: visit bbc.co.uk/proms or call the Royal Albert Hall Ticket Office on 0845 401 5040. LPO Junior Artists Open Event – Friday 27 April 2018 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. Vladimir Jurowski: Royal Philharmonic Society Award nomination

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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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

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Vesselin Gellev Sub-Leader JiJi Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Rebecca Shorrock 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 Alison Strange Georgina Leo

Violas David Quiggle Principal Ting-Ru Lai Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Stanislav Popov Isabel Pereira Daniel Cornford Alistair Scahill Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Principal Francis Bucknall David Lale Gregory Walmsley Elisabeth Wiklander Susanna Riddell Tom Roff Double Basses Kevin Rundell* Principal George Peniston Laurence Lovelle Lowri Morgan Charlotte Kerbegian Laura Murphy

Flutes Juliette Bausor Principal Sue Thomas*

Trumpets Paul Beniston* Principal Anne McAneney*

Chair supported by Victoria Robey OBE

Chair supported by Geoff & Meg Mann

Stewart McIlwham*

Trombones Mark Templeton* Principal

Piccolos Stewart McIlwham* Principal Sue Thomas*

Chair supported by William & Alex de Winton

David Whitehouse Matthew Lewis Bass Trombone Lyndon Meredith Principal

Oboes Ian Hardwick* Principal Alice Munday Sue Bรถhling* Chair supported by Dr Barry Grimaldi

Percussion Andrew Barclay* Principal

Clarinets Thomas Watmough Principal Paul Richards*

Chair supported by Andrew Davenport

Bassoons Jonathan Davies Principal Gareth Newman Simon Estell* Contrabassoon Simon Estell* Principal

Timpani Simon Carrington* Principal

Assistant Conductor Edward Farmer * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

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

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust โ ข Friends of the Orchestra

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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. 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.

Gil Shaham violin

One of today’s pre-eminent violinists.

The New York Times

Gil Shaham is one of the foremost violinists of our time: his flawless technique combined with his inimitable warmth and generosity of spirit has solidified his renown as an American master. He is sought-after throughout the world for concerto appearances with leading orchestras and conductors, and regularly gives recitals and appears with ensembles on the world’s great concert stages and at the most prestigious festivals. Forthcoming engagements include the Berlin Philharmonic, NDR Elbphilharmonie Orchestra, Boston Symphony, Chicago Symphony, Israel Philharmonic, Los Angeles Philharmonic, New York Philharmonic, San Francisco Symphony and the Orchestre de Paris, as well as multi-year residencies with the orchestras of Montreal, Singapore and the SWR Symphonieorchester Stuttgart.

series, Volume 2, which includes Prokofiev’s Violin Concerto and Bartók’s Violin Concerto No. 2, was nominated for a Grammy Award. Gil Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008 received the coveted Avery Fisher Prize. In 2012 he was named Instrumentalist of the Year by Musical America. He plays the 1699 ‘Countess Polignac’ Stradivarius, and lives in New York City with his wife, violinist Adele Anthony, and their three children.

Highlights of recent years include acclaimed performances and recordings of J S Bach’s complete sonatas and partitas for solo violin. In the coming seasons, in addition to championing these solo works he will join his long-time duo partner, pianist Akira Eguchi, in recitals throughout North America, Europe and Asia. Gil Shaham has more than two dozen concerto and solo CDs to his name, earning multiple Grammys, a Grand Prix du Disque, Diapason d’Or and Gramophone Editor’s Choice. Many of these recordings appear on Canary Classics, the label he founded in 2004. His CDs include ‘1930s Violin Concertos’, ‘Virtuoso Violin Works’, Elgar’s Violin Concerto, ‘Hebrew Melodies’, ‘The Butterfly Lovers’ and many more. His most recent recording in the ‘1930s Violin Concertos’

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Programme notes

Speedread Musical memorials often seem to create the most compelling of works. There is something about forcing oneself to think about another person that appears to provoke unexpected levels of creativity in composers. For Stravinsky, it became almost an addiction. His Ode in honour of Serge Koussevitzky’s late wife Natalie was just one of a spate of works he composed during his later years in America that paid tribute to lost friends, composers, and the life in Russia he was forced to leave behind. Debussy, Tchaikovsky, Aldous Huxley and even JFK – all were commemorated by Stravinsky, in the years when his

Anders Hillborg born 1954

music had softened a little around the edges and even taken on a more personal, humanistic tone. And it is this Stravinsky, rather than his more angular, younger self, that Yuri Falik appears to honour in his own memorial, composed just a few years after Stravinsky passed away. A powerful, nigh-on overwhelming sense of grief courses through the score, the dynamism of Stravinsky’s earlier years hardly getting a look in. Now, nearly 50 years after Stravinsky’s death, we wait with bated breath to see how Anders Hillborg will respond to his legacy in his own musical homage, Mantra – Elegy.

Mantra – Elegy (Homage to Stravinsky) (world premiere) Commissioned by the London Philharmonic Orchestra with the support of the Ernst von Siemens Music Foundation, and the Aspen Music Festival.

The chord starting the piece is the mantra – after a few bars it starts pulsating slowly, gradually transforming itself into a spectral chord which finally gets sucked into the vortex of a roaring mass of sound created by strings and woodwind.

Anders Hillborg, March 2018

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This violent outburst ends abruptly, and the mantra returns, now appearing as an echo of the emblematic chord in ‘Dance of the Young Girls’ from The Rite of Spring. Again, the mantra is gradually transformed, and this time it gets sucked into a climactic brass passage which in turn fades out into a music imagining the soundscape of the beginning of the second part of The Rite of Spring. As this music slowly ebbs out, an elegiac chorale emerges, and the piece concludes with the same chord that began it.

Anders Hillborg: An introduction One of Sweden’s leading composers, Anders Hillborg is that rare artist whose music strikes a chord across many different countries and cultures. Born in Sweden in 1954, an early interest in electronic music developed from a beginning as a keyboard improviser in a pop band, but contact with Brian Ferneyhough, and the music of Ligeti, quickly led to a fascination with counterpoint and orchestral writing. Since then, Hillborg’s love of pure sound and the energy that he gives it, has appealed to many major conductors including Alan Gilbert, Sakari Oramo, Kent Nagano and Gustavo Dudamel. With each passing year, Hillborg’s international reputation grows apace. His music has twice been the subject of a Royal Stockholm Philharmonic’s Composer Festival (1999, 2014) and he has also enjoyed residencies at Soundstreams, Toronto (2003), Avanti! (1995, 2005), Aspen (2008) and most recently in Hamburg (where he is Composer in Residence with the NDR). An extensive discography (at least 24 recordings) includes four portrait discs on BIS. Recently recorded by Decca, Hillborg’s song cycle for Renée Fleming, The Strand Settings, received a rapturous reception in London, whilst the UK premiere of Beast Sampler at the 2015 BBC Proms led The Times to pronounce: ‘Spectralism writ large: more please’. In recognition of his music’s extraordinary international reach, Hillborg was awarded the Swedish Government’s 2015 Music Export Prize, an accolade more usually reserved for pop and rock artists. In October 2016 the Stockholm Philharmonic under Sakari Oramo premiered a Violin Concerto for Lisa Batiashvili (his second), co-commissioned by the Leipzig Gewandhaus (Alan Gilbert), Minnesota (Osmo Vänskä) and Seoul Philharmonic orchestras. Other recent projects include a companion piece to Bach’s Third Brandenburg Concerto for Pekka Kuusisto and the Swedish Chamber Orchestra under Thomas Dausgaard.

WEDNESDAY 2 MAY 2018 7.30PM ROYAL FESTIVAL HALL

MUTTER PLAYS PENDERECKI Panufnik Heroic Overture* Krzysztof Penderecki Violin Concerto No. 2 (Metamorphosen)* Prokofiev Symphony No. 5 Łukasz Borowicz conductor Anne-Sophie Mutter violin London Philharmonic Orchestra

‘ALL I’M INTERESTED IN IS LIBERATING SOUND BEYOND ALL TRADITION.’ Krzysztof Penderecki

The astonishing music of Poland’s greatest living composer Krzysztof Penderecki has been transporting and terrifying audiences for decades, and receiving acclaim from far beyond the concert hall through its inclusion on the soundtracks of iconic works by Stanley Kubrick, David Lynch and Martin Scorsese. That the LPO will be performing Penderecki’s momentous and impassioned violin concerto Metamorphosen with the incomparable Anne-Sophie Mutter, for whom the concerto was written, is genuinely exciting. Completing the programme is Panufnik’s Heroic Overture, and Prokofiev’s mighty Fifth Symphony, which premiered in Moscow in 1945 to the sound of gunfire. * Organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music programme

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Programme notes continued

Yuri Falik

Elegiac Music in memory of Igor Stravinsky

1936–2009

Composer, conductor and sometime cellist, Yuri Falik never became a household name outside his native Russia during his lifetime, but the circles he moved in speak for themselves. A cello student of Mstislav Rostropovich at the Leningrad Conservatory, Falik later became a Professor at the St Petersburg Conservatory, where he counted the conductor Valery Gergiev among his pupils. Although he turned down the opportunity to pursue a solo career after winning first prize at the Helsinki International Cellist Competition, preferring instead to focus on composition, Falik’s own compositional output is modest – around 60 works in total. But alongside his career as a composer he dedicated much of his life to expanding audiences for Russian repertoire and earned a reputation for supporting the works of young Russian composers, as well as those by more established names. While Falik trumpeted the works of Prokofiev, Shostakovich, Tchaikovsky et al, his passion was for the music of Stravinsky. The two shared a similar approach to composition – clean lines, economy of materials and

command of large-scale forms, many of which Falik (like Stravinsky) borrowed from Baroque and Classical models. So when Stravinsky died in 1971, he became the inspiration for one of the few well-known works in Falik’s oeuvre. Scored for four trombones and strings, the ‘Elegaic Music’ Falik composed in Stravinsky’s honour appears, at the outset at least, to be far from Stravinskian in tone. Its melancholic opening, while befitting its funereal setting, is a long way from the rhythmic dynamism and clean edges we typically associate with Stravinsky. In its place, Falik offers hazy harmonies and creeping, winding lines for the strings – the horizon blurred by a seemingly inescapable sense of grief. But from the foggy gloom a new voice emerges, one that is beset with anger and increasingly emboldened by a sense of defiance. Here, Falik offers a more familiar portrait of Stravinsky, the orchestra pulsing with life, even as death itself encroaches, the anger palpable in the dense chromaticism and guttural brass interjections. Life eventually ebbs away, as it must, but a soaring solo violin carries the music heavenwards, its grief spent, the tone now one of solemn resignation.

TOMORROW: 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

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Igor Stravinsky

Ode 1 Eulogy 2 Eclogue 3 Epitaph

1882–1971

In 1943 Stravinsky was approached by Serge Koussevitzky, one of the most prominent conductors of his generation and a huge champion for new music, with the commission for a new work in honour of his late wife, Natalie. Ode was not Stravinsky’s first work written in Natalie’s honour. Twenty years earlier, he had dedicated his Concerto for Piano and Wind Instruments (1924) to her, performing the solo piano part himself at the first performance, with Serge taking the conductor’s podium. But while the Concerto was written entirely from scratch, for Ode Stravinsky revisited the music he had written for an Orson Welles film adaptation of Jane Eyre, which had never come to fruition.

Despite such elegant instrumental writing, the work’s premiere was not a great success. One of the trumpet players failed to transpose his part, thereby playing everything in the wrong key, and some copying mistakes on the final page meant that two systems of music had been combined into one. ‘My simple triadic piece concluded in a cacophony that would now win me new esteem at Darmstadt’, Stravinsky remembered wryly. ‘This sudden change in harmonic style did not excite Koussevitzky’s suspicion, however, and some years later he actually confided to me that he preferred “the original version”.’

The discarded film music forms the basis of the second movement – a ‘pleasant interlude’, as Stravinsky called it – which sits within a rather more sombre outer frame. The Eclogue, a bustling scherzo, was originally intended to accompany a hunting scene, as the arpeggiated horn-calls and scurrying strings make abundantly clear. Although it is rather more spirited in tone than one might expect from a memorial work, it forms a welcome counterfoil to the melancholic Eulogy that precedes it. Here, sweeping swings emerge from an austere brass ‘fanfare’ in a rather candid, unStravinskian outpouring of emotion, but the closing movement – Epitaph – returns us to more familiar territory, with disconcerting dissonances and fleeting moments of bitonality that undermine the lyrical woodwind melodies.

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

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Programme notes continued

Ludwig van Beethoven 1770–1827

By the time Beethoven composed his first – and only – complete concerto for the violin, he was already a master of the instrument. He had under his belt a series of nine sonatas for violin and piano, two solo Romances for violin and orchestra, and the start of a youthful Violin Concerto in C major, WoO 5 – which would remain unfinished. He had also established himself as a composer of considerable renown: in 1801, he wrote gleefully to his friend Franz Wegeler that when it came to publishers, ‘I state my price and they pay.’ So it is altogether surprising that the reception at the premiere of his Violin Concerto in D major was lukewarm at best. ‘The Concerto enjoyed no great success’, wrote his biographer, Anton Schindler. ‘It was totally ignored: violinists … rejected the work as unrewarding.’ It was not until 1844, when the 13-year-old Joseph Joachim resurrected the Concerto under Mendelssohn’s direction to ‘frenetic applause’, that the work became firmly established within the repertoire. By then, tastes had changed and features that nearly half a century earlier had been regarded as ‘risky’ and ‘disconcerting’ were now deemed more acceptable. The mysterious strokes on the timpani with which the Concerto opens would come to seem intriguing, rather than simply bizarre. The Concerto’s surprising length – 15 minutes longer than any of Mozart’s own for the violin – was now more in keeping with the extended nature of the Romantic concerto. And the dazzling virtuosity of the solo violin part became a real draw for audiences becoming increasingly accustomed to inspiring and impressive musical feats within the concert hall. It is worth bearing in mind, though, that Beethoven’s Violin Concerto as we know it today is thought to be considerably revised from that of the 1806 premiere. According to Carl Czerny, Beethoven completed the

14 | London Philharmonic Orchestra

Violin Concerto in D major, Op. 61 Gil Shaham violin 1 Allegro ma non troppo 2 Larghetto – 3 Rondo: Allegro

work in haste at the request of Franz Clement, the Concerto’s dedicatee and commissioner. Clement wanted a new concerto to perform at a benefit concert in Vienna in December 1806 and reports suggest that the score was barely finished before the first rehearsals began – so much so that Clement was all but sightreading at the premiere. After its rather lacklustre premiere, the work underwent several revisions before its publication, including its transformation into a concerto for piano, for which Beethoven added an unusual extended cadenza with timpani accompaniment. Like the knocking of ‘Fate’ at the start of the Fifth Symphony, the timpani beats with which the work opens form the foundations of the Violin Concerto. These five simple strokes saturate the opening movement, intertwining themselves within the first theme and underpinning the accompaniment of the second, alternating between ominous and celebratory at every turn. This expansive first movement, wrought with dense thematic interplay and dramatic dynamic contrasts, is quite at odds with the stillness of the central Larghetto – a series of ethereal variations in which the soloist appears to extemporise freely over muted strings. This quiet corner of the Concerto has none of the showmanship of the outer movements, with its serene, bird-like utterances seeming to prefigure that of Vaughan Williams’s The Lark Ascending by more than a hundred years. The finale, by contrast, is a riot of drama and colour, bursting out of the Larghetto without pause with a pastoral violin melody that is taken up by the orchestra with full force. With every repetition, this simple country theme grows increasingly virtuosic, eventually leading to a climactic coda packed full of exhilarating showmanship. Programme notes © Jo Kirkbride

Jurowski conducts Beethoven on the LPO Label

Recommended recordings of tonight’s works

Beethoven Symphony No. 3 (Eroica) Overture, Fidelio

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

Vladimir Jurowski conductor London Philharmonic Orchestra

Stravinsky: Ode Royal Scottish National Orchestra | Neeme Järvi (Chandos) Beethoven: Violin Concerto in D major James Ehnes | Royal Liverpool Philharmonic Orchestra | Andrew Manze (Onyx)

LPO-0096 | £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.

Next concerts at Southbank Centre’s Royal Festival Hall wednesday 25 april 2018 7.30pm

friday 27 april 2018 7.30pm

wednesday 2 may 2018 7.30pm

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

Panufnik Heroic Overture* Krzysztof Penderecki Violin Concerto No. 2 (Metamorphosen)* Prokofiev Symphony No. 5

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.

Łukasz Borowicz conductor Anne-Sophie Mutter violin * Financed by the Ministry of Culture and National Heritage of the Republic of Poland as part of the multi-annual programme NIEPODLEGŁA 2017–2021

Book now at lpo.org.uk or call 020 7840 4242

London Philharmonic Orchestra | 15

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

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

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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