London Philharmonic Orchestra 22 March 2020 Eastbourne concert programme by London Philharmonic Orchestra

2018/19 CONCERT SEASON

AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

CONCERT PROGRAMME 2019/20 Concert season at Eastbourne’s Congress Theatre

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI Principal Conductor Designate EDWARD GARDNER supported by Mrs Christina Lang Assael Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER CBE AM Chief Executive Designate DAVID BURKE

Congress Theatre, Eastbourne Sunday 22 March 2020 | 3.00pm

Tchaikovsky Piano Concerto No. 1 in B flat minor, Op. 23 (33’) Interval (20’) Tchaikovsky Suite: The Sleeping Beauty (20’) Tchaikovsky Fantasy Overture: Romeo and Juliet (21’)

Matthew Wood conductor Igor Tchetuev piano

The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for this performance is supplied and maintained by Steinway & Sons, London.

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

Contents 2 3 4 5 6 7 8 11 12 13 14 16

Welcome Next concert Orchestra news On stage today About the Orchestra Leader: Kevin Lin Matthew Wood Igor Tchetuev Programme notes Tchaikovsky on the LPO Label LPO Annual Appeal 2019/20 Sound Futures donors Supporters LPO administration

Welcome

Welcome to the Congress Theatre, Eastbourne Theatre Director Chris Jordan General Manager Gavin Davis Welcome to this afternoon’s performance. We are pleased to welcome back the London Philharmonic Orchestra and its patrons to the Congress Theatre. The London Philharmonic Orchestra gave the first ever performance at this Grade II listed building when it originally opened in 1963. This historic building was purpose-built as a theatre and conference venue designed by Bryan and Norman Westwood Architects. What makes the theatre unique is that it is conceived to be a perfect cube. It has fantastic acoustics to enhance your experience of live music, and so it is thrilling to see the Orchestra back in its Eastbourne home. We thank you for continuing to support the concert series. Please sit back in your seats and enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones are switched off during the performance. Thank you.

Final concert this season at the Congress Theatre Sunday 19 April 2020 | 3.00pm Beethoven Overture, Fidelio Beethoven Piano Concerto No. 4 Beethoven Symphony No. 6 (Pastoral) Matthew Coorey conductor Joanna MacGregor piano The new 2020/21 season brochure will be available at the 19 April concert.

Book online at eastbournetheatres.co.uk or call 01323 412000

2 | London Philharmonic Orchestra

Orchestra news

New on the LPO Label: Strauss & Rimsky-Korsakov Released next Friday, 27 March, is a disc pairing Richard Strauss’s Symphonia Domestica and Rimsky-Korsakov’s Scheherazade. Both works are conducted by Zubin Mehta and were recorded live at Southbank Centre’s Royal Festival Hall, on 26 January 1988 and 9 April 1992 respectively. The double disc is priced £10.99 (catalogue no. LPO-0117). All 100+ recordings on our label are available to buy from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets, as well as available to download or stream online via Spotify, Apple Music, Primephonic, Idagio and others.

Brett Dean: new Composer in Residence We are delighted to announce Australian composer Brett Dean as the LPO’s new Composer in Residence for three years from September 2020. The Orchestra worked closely with Dean on his opera Hamlet in 2017, which was premiered at Glyndebourne to critical acclaim. Our new 2020/21 Royal Festival Hall season features three of his works: The Players, Komarov’s Fall and the Cello Concerto. Dean will also take on the role of Composer Mentor to the LPO’s Young Composers programme, providing guidance and expertise to the five rising stars, and will conduct the annual Debut Sounds showcase of their work. lpo.org.uk/newseason

We beat Beethoven! On Friday 13 March, three members of the LPO Marketing team – Mairi, Greg and Georgie – joined hundreds of others at Salford’s Media City for a BBC #BeatBeethoven event to raise money for Sport Relief. Their challenge was to run 5 kilometres in the time it took the BBC Philharmonic to perform Beethoven’s Fifth Symphony, aiming to finish before the orchestra (around 35 minutes). Well done to all the runners who took part!

On stage today

First Violins Kevin Lin Leader Chair supported by The Candide Trust

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

Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Eleanor Bartlett Katherine Waller Non Peters Joseph Devalle Robert Yeomans Maeve Jenkinson Jamie Hutchinson Alice Hall Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Clarice Curradi Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Ashley Stevens Helena Nicholls Sioni Williams Nicole Stokes Suzannah Quirke Gavin Davies Maria Oguren Emma Martin Violas Rachel Roberts Guest Principal Benedetto Pollani Naomi Holt Joseph Fisher Daniel Cornford Martin Wray Julia Kornig Charles Cross Miriam Eisele Jennifer Coombes

Cellos Leonardo Sesenna Guest Principal David Lale Susanna Riddell Tom Roff Helen Rathbone Sibylle Hentschel Iain Ward Daniel Benn Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Tom Walley Laura Murphy Flutes Thomas Hancox Guest Principal Imogen Royce Piccolo Stewart McIlwham* Principal Oboes James Hulme Guest Principal Imogen Davies Cor Anglais Sarah Harper

Bassoons Simon Estell* Principal Angharad Thomas Horns John Ryan* Principal Stephen Craigen Guest Principal Elise Campbell Alexander Willett Jonathan Lipton Trumpets Chris Evans Guest Principal Paul Bosworth Cornets Ryan Linham Gwyn Owen Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Henry Baldwin Principal

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar Harp Tamara Young Guest Principal

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

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Chiltern Friends of the LPO Gill & Garf Collins Donors to the 2019 Gala Player Appeal Friends of the Orchestra Dr Barry Grimaldi Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Eric Tomsett Neil Westreich

Clarinets Thomas Watmough Principal Chair supported by Roger Greenwood

Elliot Gresty

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The performance was as good as could be … the LPO was beautifully poised and utterly perfect. Alan Sanders, Seen and Heard International (LPO at Royal Festival Hall, 6 October 2018: Beethoven and Stravinsky)

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2017 Vladimir Jurowski celebrated his tenth anniversary as the Orchestra’s Principal Conductor. Edward Gardner is currently Principal Conductor Designate, and will take up the position when Jurowski’s tenure concludes in September 2021. 4 | London Philharmonic Orchestra

The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2019 we celebrated the music of Britain in our festival Isle of Noises, exploring music from and inspired by the British Isles, from Purcell to the present day. The focus of 2020 is our 2020 Vision series, featuring some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier. The London Philharmonic Orchestra enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sellout audiences worldwide.

Kevin Lin leader

The London Philharmonic Orchestra has recorded many blockbuster film scores, 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 Mahler’s Symphony No. 4 conducted by Vladimir Jurowski, Mozart chamber works with LPO Principal players, and Ravi Shankar’s only opera, Sukanya. 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. We recently celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Our dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, Kevin has received international recognition for his musicianship and ‘soulful’ playing (The Arts Desk). He 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 Pittsburgh Symphony and 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 at The Colburn School and The Curtis Institute of Music. An avid chamber musician, Kevin’s recent collaborations include performances with the Tokyo and Ebène quartets, Edgar Meyer, Cho-Liang Lin, Orion Weiss and Andrew Bain. 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.

youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

Kevin’s chair in the London Philharmonic Orchestra is generously supported by The Candide Trust.

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Matthew Wood conductor

... clarity of musical lines and delicacy of intent, especially in the disciplined hands of Australian conductor Matthew Wood, who paces everything perfectly and shapes the long, slowly changing vocal lines with flare and imagination. © Tim Nicol

Clive Paget, Limelight Magazine, November 2018 (Glass’s Satyagraha at Brooklyn Academy of Music)

Equally at home on the concert platform as in the orchestra pit, Matthew Wood is a conductor of great versatility, regularly conducting symphonic, opera, ballet and new music repertoire throughout the world. He has worked with many of the UK’s leading orchestras including the London Philharmonic, Philharmonia, Royal Liverpool Philharmonic and BBC Philharmonic orchestras, and with the Royal Ballet, Covent Garden. He also held the position of Associate Conductor with the Bournemouth Symphony Orchestra. He last conducted the LPO in January 2016 at Eastbourne’s Congress Theatre, in a programme of Wagner, Bruch, Khachaturian and Tchaikovsky. Matthew has also made numerous appearances outside the UK: he is a regular guest conductor with the RTÉ National Symphony Orchestra of Ireland, the Orquesta Sinfónica Nacional de Chile, the Orquesta Clásica Santa Cecilia Madrid, and the Brasov Philharmonic in Romania. In 2016 he made his Swedish debut conducting performances of Philip Glass’s Satyagraha with Folkoperan Stockholm, and returned to the company in 2017 and 2018. In 2018 Matthew conducted further performances of Satyagraha at the Folketeatret Opera Festival in Copenhagen and at the Brooklyn Academy of Music in New York. 2019/20 highlights include his debut at the Royal Swedish Opera House, Stockholm. Matthew held the position of Artistic Director and Chief Conductor of the Darwin Symphony Orchestra in Australia from 2013–18. He has also conducted many of Australia’s other leading ensembles including the Melbourne, Tasmanian and Queensland symphony orchestras.

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Matthew is a keen advocate of new music and regularly commissions new works, including recent commissions/ performances of music by Ross Edwards, Iain Grandage, Lachlan Skipworth, Matthew Hindson and Elena Kats-Chernin. He is regularly engaged by new music ensembles such as Halcyon. Matthew is also in demand as a conducting teacher and is a regular guest lecturer and conductor at the Royal Northern College of Music, where he held the coveted position of Conducting Fellow. During this time he was selected to conduct the London Symphony Orchestra as part of its Conductor Discovery series, and received tuition from Sir Mark Elder and Sir Colin Davis. Matthew Wood completed his undergraduate music studies at the University of New South Wales, majoring in composition and graduating with First Class Honours. He then undertook postgraduate conducting studies at the Sydney Conservatorium before concentrating his studies under renowned conductor pedagogue Jorma Panula. @mattconductor

Igor Tchetuev piano

Beaming like a laser, confident yet unaggressive, shining, colourful, structured without being rigid, the work of Igor Tchetuev makes every piece’s vital force emerge. Alain Lompech, Le Monde

Igor Tchetuev was born in Sebastopol, Ukraine, in 1980. At the age of 14 he won the Grand Prix at the International Vladimir Krainev Young Pianists’ Competition (Ukraine) and was a student of Maestro Krainev. In 1998, at the age of 18, he was the First Prize Laureate of the Ninth Arthur Rubinstein International Piano Master Competition, where he was also voted ‘Audience Favourite’. Igor Tchetuev has been invited to appear with such orchestras as the Orchestre National de France under Neeme Järvi, the WDR Köln under Semyon Bychkov, the Mariinsky Orchestra under Valery Gergiev, the Orchestre National de Montpellier under Ari Rasilainen, the Bilbao Symphony Orchestra under Günter Neuhold, the Russian National Philharmonic under Ken-David Masur, the Orchestre Pasdeloup at the Salle Pleyel, the Israel Philharmonic Orchestra, the Orchestre National de Bordeaux, the Bern Philharmonic, the Prague Symphony Orchestra and the Orchestre Philharmonique de Marseille. He has performed under such conductors as Evgeny Svetlanov, Valery Gergiev, Semyon Bychkov, Neeme Järvi, Günther Herbig, Vladimir Spivakov, Mark Elder, Rafael Frühbeck de Burgos, Maxim Vengerov, Alexander Dmitriev, Maxim Shostakovich, and many others. Today’s concert is his debut with the London Philharmonic Orchestra.

the Sintra Festival, the Schleswig-Holstein Festival, the Louvre Auditorium, the Chopin Festival Paris, the Accademia Filharmonica Romana in Rome and the Montpellier Festival, not to mention the festival of La Roque d’Anthéron, where he gave an acclaimed evening recital of Chopin’s 24 Études. Igor’s recordings have received numerous awards: these include Prokofiev Violin Sonatas with violinist Andrey Bielov (Naxos); Romantic Etudes, featuring works by Schumann, Chopin, Liszt and Scriabin (Tri-M Classic); Three Chopin Sonatas (Orfeo); and Schnittke’s Complete Piano Sonatas (Caro Mitis), which won the German Radio Critics’ Prize, an R10 in Classica-Repertoire in France and a magnificent article in Gramophone magazine. His latest recordings are the first five volumes of his Complete Beethoven Sonatas (Caro Mitis) and a Medtner recording with violinist Chloë Hanslip (Hyperion).

Each year Igor Tchetuev gives a number of appearances at renowned venues and festivals including the St Petersburg Festival, the Mariinsky Theatre, La Scala, Milan, the Berlin Philharmonie, the Wiener Staatsoper; London’s Wigmore Hall, the Théâtre des Champs-Elysées, the Festival de Menton, the Colmar International Festival, the Menuhin Festival Gstaad, the Klavierfestival Ruhr, the Braunschweig Festival,

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Programme notes

Speedread Tchaikovsky was one of the greatest melodists of all time, and one of his most glorious, pulse-raising long tunes occurs in his gripping symphonic poem Romeo and Juliet. Another one begins the famous First Piano Concerto – we’re talking here about two of the most widely recognised themes in classical music. But Tchaikovsky was so much more than a tunesmith. He had a genius for painting pictures and depicting characters in sound, which can be heard not only in Romeo and Juliet but in the sumptuous, atmospheric

Pyotr Ilyich Tchaikovsky

Suite from the ballet The Sleeping Beauty. When it came to expressing raw passion there was no-one better – but above all he had a masterly sense of musical form, so that the whole always adds up to more than the sum of the parts. Whether the music tells a story, like Romeo and Juliet, or turns the relationship between soloist and orchestra into a dazzling, thrilling contest, as in the Piano Concerto, it hooks you in and won’t let you go till the last note is sounded.

Piano Concerto No. 1 in B flat minor, Op. 23 Igor Tchetuev piano

1840–93

1 Allegro non troppo e molto maestoso – Allegro con spirito 2 Andantino semplice – Prestissimo 3 Allegro con fuoco

Tchaikovsky was always terribly vulnerable to criticism. So one can readily imagine the effect on him when the pianist and composer Nikolai Rubinstein pronounced judgement on his newly completed First Piano Concerto. From the start Tchaikovsky had been particularly keen that Rubinstein perform the Concerto in one of his prestigious concerts. But when Tchaikovsky played the first movement to Rubinstein, on Christmas Eve 1874, the response was withering. ‘It turned out that my concerto was worthless and unplayable’, Tchaikovsky recalled soon afterwards, ‘passages were so fragmented, so clumsy, so badly written that they were beyond rescue; the work itself was bad, vulgar; in places I had stolen from other composers; only two or three pages were worth preserving; the rest must be thrown away or completely rewritten.’

hardly have been more different: the Concerto, Bülow replied, was ‘so original in thought (yet never affected), so noble, so strong, so interesting in details ... In short, this is a real pearl and you deserve the gratitude of all pianists.’ And that, broadly speaking, is how posterity has come to view the First Piano Concerto. Even so, Tchaikovsky did make some revisions after hearing the work in concert. Bülow made a few recommendations, as did the pianist Edward Dannreuther. Dannreuther’s comments in particular must have been made with great tact, because the normally touchy Tchaikovsky thanked him for his ‘very sensible and practical suggestions’, and took them to heart when he revised the Concerto in 1878 – and possibly when he refined it further in 1888. That is the version we hear regularly today.

Fortunately for us, Tchaikovsky didn’t follow Rubinstein’s advice and destroy the Concerto; instead he recovered his nerve and sent it to the German pianist and conductor Hans von Bülow, whose reaction could

Bülow’s comments about originality and nobility are borne out right from the start. A few bars of dark fanfare, led by the horns, are swept aside by the piano’s sonorous major-key chords, then one of Tchaikovsky’s

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grandest and most glorious long melodies surges in on strings. After a period of extended development this theme is dropped, never to return again – to the disappointment of some first-time listeners, yet in fact this tune turns out to contain the seeds of many important themes to come. The long first movement is also striking for the way it dramatises the relationship between piano and orchestra – sometimes an heroic struggle, sometimes closer to a tender or turbulent love

affair. After this, the Andantino middle movement offers gentle relief, its faster central section based on a French folk-tune Tchaikovsky used to sing with his brothers Modest and Anatoly, ‘One must have fun, dance and sing’. Then the finale is a terrific, exhilarating workoutcum-fireworks-display based on a Ukrainian folksong, with another splendid ‘Big Tune’, which returns in triumph to end this passionate, stunningly theatrical concerto.

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

Pyotr Ilyich Tchaikovsky

Suite: The Sleeping Beauty

The Sleeping Beauty was the second of Tchaikovsky’s three great ballets, and the one whose music seems to have pleased him the most. From the moment he received the libretto, based on the fairy story by the 17th-century French writer Charles Perrault, Tchaikovsky was hooked. ‘I wanted to let you know immediately that I am enchanted by it’, he wrote to Ivan Vsevolozhsky, director of the Imperial Theatre in St Petersburg. ‘It suits me perfectly and I ask for nothing more than to be able to write music for this scenario.’ A month after the premiere in January 1890, Tchaikovsky was still so pleased with his score that he announced his intention to make an orchestral suite from the ballet. The problem was that there was so much good music that whittling it down to a few choice numbers caused him endless headaches. Then, only three years later, he died at the age of just 53, leaving the selection and the ordering still undecided. Tchaikovsky’s publisher approached the pianist and conductor Alexander Ziloti, who compiled the Suite we know today.

The Suite makes no attempt to paraphrase the story of the ballet, but it does give a strong flavour of the music, as well as introducing some of its most important characters. The substantial introduction presents us first of all with the evil fairy Carabosse (dark, menacing music for full orchestra), then the Lilac Fairy appears, accompanied by harp, and the castle of Princess Aurora is transformed into a thick forest. The Adagio takes us back to the moment in Act One where Aurora is presented with roses by her four suitors, to one of the ballet’s hit melodies. Pas de caractère brings in a character from another Perrault story, ‘Puss in Boots’ (cue feline sounds form the orchestra). Panorama depicts the Prince’s journey by boat to Aurora’s castle. Then the Suite ends with the magnificent waltz from Act One. Tchaikovsky was particularly proud of this sumptuous dance number, and told Ziloti himself that it had to be in the Suite. Wisely, Ziloti opted to make it the grand finale.

1 Introduction: La Fée des Lilas 2 Adagio: Pas d’action 3 Pas de caractère 4 Panorama 5 Valse

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Programme notes continued

Pyotr Ilyich Tchaikovsky

Fantasy Overture: Romeo and Juliet

For all the brilliance of his musical imagination and evident depth of feeling, Tchaikovsky was terribly prone to self-criticism. But in the long run that could work to his advantage. In 1869 he sent a copy of the score of his new tone-poem Fatum (‘Fate’) to the great father-figure of Russian national music, the composer Mily Balakirev, hoping for approval. Balakirev was characteristically blunt. He had performed Fatum, but it didn’t go down well, ‘probably because of the appalling cacophony at the end’. Moreover the writing was ‘slapdash’, and ‘the seams show ... Above all the form just does not work’. Naturally Tchaikovsky was hurt, but he had to concede that Balakirev had a point. The two composers began a correspondence, in which Balakirev suggested that Tchaikovsky compose an orchestral work based on Shakespeare’s Romeo and Juliet. Typically, Balakirev didn’t stop there: he laid out examples of the kind of structure Tchaikovsky might use, how he might deploy the themes associated with the main characters, even which keys to use.

tune associated with the wise and compassionate Friar Lawrence. But Romeo and Juliet is also symphonic in that the form is so well balanced, the musical argument so convincingly engineered, that it’s possible to enjoy it simply as a gripping symphonic statement – it doesn’t need any kind of programmatic crutch to prop it up.

Although Tchaikovsky privately confessed that Balakirev made him uneasy, he clearly welcomed this kind of fatherly intervention. The result – after two substantial revisions – is one of the glories of the Russian Romantic repertoire, a masterpiece Balakirev himself was never able to match. Tchaikovsky designated his Romeo and Juliet as ‘Overture-Fantasy’, but it is a true symphonic poem. The poetic element is clear enough in the sense that the music conveys the feelings of the lovers, the conflict between their two warring families, the Capulets and the Montagues, and the tragic ending so vividly that anyone who knows the story of the play can make them out easily. At the same time there’s a highly effective framing device in the dignified, solemn hymn

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All the same, it helps to have the outlines of Tchaikovsky’s musical story. The slow introduction presents Friar Lawrence’s wind hymn tune, while anxious strings convey his forebodings. A tense, later explosive Allegro portrayed the hair-trigger hostility of the Montagues and Capulets, with rhythmic cymbal clashes depicting furious swordplay. Eventually the music calms down, and the famous love theme begins: apparently the cor anglais and violas are meant to evoke Romeo’s voice, while the flute and oboes that follow are Juliet’s. The way Tchaikovsky manages to convey the lovers’ emotions, the beauty of the night and an underlying sense of ease is particularly impressive. Conflict returns, and eventually so does the love theme, but it now feels embattled, and the driven Allegro music sweeps back in, this time leading to an unmistakably tragic denouement (low strings and bassoons and a loud drum-roll, fading to nothing). A ghost of the love theme hovers above funereal drums, Friar Lawrence comments for the last time, then the love theme returns, radiantly transfigured. Love itself, it seems to say, is stronger than death. Programme notes © Stephen Johnson

LPO-0109 | £9.99 (1CD)

LPO-0039 | £10.99 (2CDs)

Tchaikovsky on the LPO Label

Symphonies Nos. 2 & 3

Vladimir Jurowski conductor

Vladimir Jurowski conductor LPO–0009 | £9.99 (1CD)

LPO-0064 | £10.99 (2CDs)

Symphonies Nos. 1 & 6

Manfred Symphony

Vladimir Jurowski conductor

Complete Symphonies 1–6 7CD Box Set Vladimir Jurowski conductor

LPO–0094 | £9.99 (1CD)

LPO-0101 | £34.99 (7CDs)

Symphonies Nos. 4 & 5

Violin Concerto plus Lalo's Symphonie espagnole Augustin Hadelich violin Vasily Petrenko conductor (Tchaikovsky) Omer Meir Wellber conductor (Lalo)

Recordings available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Primephonic, Idagio, Apple Music, Spotify and others.

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COME BEHIND THE SCENES

You know the London Philharmonic Orchestra for our UK concerts, our international tours, the residency at Glyndebourne, our education work and music recordings... BUT BEHIND THE WORK THAT YOU DO SEE IS A WORLD OF WORK THAT YOU DON’T. DURING OUR INCREDIBLY AMBITIOUS 2019/20 SEASON ...

2277 To deliver 20 concert performances on tour, 2277 hotel rooms will be booked.

135

For a single performance of Mahler’s Symphony No. 2, 3440 pages of music will be ordered – and that’s just the chorus parts.

234

Performing 54 operas at Glyndebourne will require the coordination of 135 hours of ensemble rehearsals.

3440

To support our Young Talent schemes, LPO members will deliver 234 hours of mentoring.

7500

The LPO Library will produce an average of 65 folders of music for every concert.

The LPO Ticket Office will process over 7500 tickets for primary school children to experience a live orchestral concert.

560

To record key performances, more than 560 participation forms will be prepared.

Approximately 24 hours of raw footage will be shot, edited and crafted into content for our digital platforms.

4x2

For every rehearsal and every concert, the on-the-road team will load and unload over four tonnes of instruments and flight cases … twice.

SUPPORT THE UNSEEN WORK OF THE ORCHESTRA 12 | London Philharmonic Orchestra

4 TONNES

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

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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 Anonymous donors Mrs Aline Foriel-Destezet Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Mrs Christina Lang Assael Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Associates An anonymous donor Steven M. Berzin Kay Bryan William & Alex de Winton Hamish & Sophie Forsyth Irina Gofman and Mr Rodrik V. G. Cave Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons An anonymous donor David & Yi Buckley In memory of Allner Mavis Channing The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Geoff & Meg Mann Francis & Marie-France Minkoff Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt

Silver Patrons Remembering Terri Borain Andrea d’Avack Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Rehmet Kassim-Lakha de Morixe John & Angela Kessler Jamie & Julia Korner The Metherell Family Denis & Yulia Nagy Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Andrew & Rosemary Tusa Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Mr Mark Astaire Margot Astrachan Mr Geoffrey Bateman Mrs A Beare Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil The Earl & Countess of Chichester Mr Michael Cole-Fontayn Mr John H Cook Howard & Veronika Covington Mrs Maria Danilova Guy Davies Bruno De Kegel Cameron & Kathryn Doley Jill Dyal David Ellen Ignor & Lyuba Galkin Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Eugene & Allison Hayes Ms Elena Heinz Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home Rose & Dudley Leigh

14 | London Philharmonic Orchestra

Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Linda & Tim O’Neill Jacopo Pessina Mr Alex Petrov Mr Roger Phillimore Mr Michael Posen Mr Alex Smedley Ms Nadia Stasyuk Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Ms Jenny Watson CBE Christopher Williams Mr Anthony Yolland Principal Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Dr Manon Antoniazzi Helen Brocklebank Mr Philip Bathard-Smith Ms Phyllia Chen Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett In honour of Bea Crumbine Mr Jonathan Davies Mr Richard Fernyhough Mr Michael Fox Mr Stephen Goldring Mr Milton Grundy Mr Ian Haslegrave Michael & Christine Henry Lady Hill Mrs Maureen Hooft-Graafland Jamilya Jakisheva Per Jonsson Vadim Levin Lady Leonora, Countess of Lichfield Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Michael & Patricia MclarenTurner

Alice P. Melly Mr John Meloy Andrew T Mills Dr Karen Morton Maxim & Natalia Moskalev Mrs Jannifer Oxley Mr James Pickford Natalie Pray Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Barry & Gillian Smith Mr Bill Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Matthew Stephenson & Roman Aristarkhov Marina Vaizey Howard & Sheelagh Watson Supporters Anonymous donors Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Mr David Devons Mr Anthony Diamond Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Scott & Icy Frantz Christopher Fraser OBE Will Gold Mr Peter Gray The Jackman Family Mr & Mrs Bon Jasperson Mr David MacFarlane Peter & Isabel Malkin Mr Frederic Marguerre Mr Mark Mishon Trevor Mulineaux Dame Jane Newell DBE Bill & Jane Nickerson Mr Stephen Olton Anju & Radhika Patel

Mr David Peters Candace Procaccini Mr & Mrs Graham & Jean Pugh Mr David Russell Deb & Jay Shaw Ms Elizabeth Shaw Mr Kenneth Shaw Ms Natalie Spraggon & Mr David Thomson Mrs John E Stauffer Ronald & Davidde Strackbein Mr John Weekes Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Joyce Kan (China/Hong Kong) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA)

Thomas Beecham Group Members David & Yi Buckley The Candide Trust The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport William & Alex de Winton Donors to the 2019 Gala Player Appeal Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Natasha Tsukanova Neil Westreich Guy & Utti Whittaker We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Connecticut Gala Committee Bea Crumbine & Jill Dyal Co-Chairmen Rodica Brune Mandy DeFilippo Rachel Franco Nick Gutfreund Mary Hull Steve Magnuson Natalie Pray Victoria Robey OBE Lisa & Scot Weicker Corporate Donors AT&T Barclays L Catterton Paul Hastings LLP Payne Hicks Beach Pictet Bank White & Case LLP LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners After Digital Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation The London Community Foundation Lord & Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute PRS For Music Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The Steel Charitable Trust Spears-Stutz Charitable Trust The Thomas Deane Trust The Viney Family 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 | 15

Administration

Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Susanne Martens* Stewart McIlwham* Pei-Jee Ng* Andrew Tusa Timothy Walker CBE AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Helen Brocklebank 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 Marianna Hay Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Jamie Njoku-Goodwin Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker CBE AM Laurence Watt Elizabeth Winter

General Administration Timothy Walker CBE AM Chief Executive and Artistic Director David Burke Chief Executive Designate Timothy Wakerell PA to the Chief Executive/ Office Administrator Concert Management Roanna Gibson Concerts Director Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians

Development Laura Willis Development Director