London Philharmonic Orchestra 23 January 2016 concert programme by London Philharmonic Orchestra

Concert programme 2015/16 London Season lpo.org.uk

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 Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 23 January 2016 | 7.30pm

Mozart Serenade No. 8 (Notturno), K286 (18’) Magnus Lindberg Gran Duo (20’) Interval Mozart Wind Serenade No. 12 (Nacht Musik), K388* (22’) R Strauss Four Last Songs (25’) *Please note a change to the programmed work from originally advertised.

Vladimir Jurowski conductor Soile Isokoski soprano

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Soile Isokoski 8 Programme notes 10 Magnus Lindberg 13 Song texts 14 Recommended Recordings 15 Next concerts 16 Recent CD releases 17 Shakespeare400 18 Sound Futures donors 19 Supporters 20 LPO administration

The timings shown are not precise and are given only as a guide.

Welcome

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, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi 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 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss 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.

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Orchestra news

Kurt Masur 1927–2015 We were deeply saddened to learn of the death of the Orchestra's former Principal Conductor, Kurt Masur, on 19 December 2015. The Orchestra and Vladimir Jurowski will dedicate their concert at Royal Festival Hall on Wednesday 27 January to his memory, and a full tribute will appear in that concert programme. Glyndebourne 2016 Each summer the Orchestra bids a fond farewell to the Royal Festival Hall and heads for the Sussex countryside for the Glyndebourne season, where it is Resident Symphony Orchestra. This summer Glyndebourne’s contributions to the 'Shakespeare400' anniversary year are a production of Britten’s A Midsummer Night’s Dream – a revival of the 1981 production directed by Peter Hall – and a new production of Berlioz’s Béatrice et Bénédict. Also featuring this year is Wagner’s Die Meistersinger von Nürnberg with conductor Robin Ticciati. The DVD of the previous production in 2011, with Vladimir Jurowski at the helm, won the BBC Music Magazine Award 2015 for Best Opera and we look forward to revisiting the opera with Robin. The other operas with the LPO are Rossini’s Il barbiere di Siviglia and Janáček’s The Cunning Little Vixen. Public booking opens on 7 March. glyndebourne.com Recent LPO Label release: Mahler Box Set For fans of Klaus Tennstedt, we’ve recently released a real treat on our LPO Label: a box set of Mahler symphonies with over seven glorious hours of music on nine CDs. This set documents the extraordinary relationship between Tennstedt and the London Philharmonic Orchestra, and the conductor’s particular affinity with Mahler – he felt that his works could only be approached with an acknowledgement and experience of life’s hardships, and this was always apparent in his performances. The set is priced £49.99. Visit lpo.org.uk/recordings or call 020 840 4242.

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Yang Xu Vesselin Gellev Sub-Leader Ilyoung Chae Chair supported by an anonymous donor

Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Martin Höhmann Chair supported by The Jeniffer and Jonathan Harris Charitable Trust

Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Rebecca Shorrock Caroline Frenkel Second Violins Philippe Honoré Guest Principal Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Dean Williamson Helena Nicholls Harry Kerr Mila Mustakova

Sheila Law John Dickinson Elizabeth Baldey

Flutes Sue Thomas* Principal

Violas Benjamin Roskams Guest Principal Cyrille Mercier Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Naomi Holt Martin Fenn Stanislav Popov

Clare Childs Hannah Grayson Stewart McIlwham

Cellos Kristina Blaumane Principal Chair supported by Bianca and Stuart Roden

Pei-Jee Ng Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Chair supported by The Viney Family

Sue Sutherley Susanna Riddell David Bucknall Philip Taylor Double Basses Colin Paris Guest Principal George Peniston Laurence Lovelle Kenneth Knussen Charlotte Kerbegian Helen Rowlands Ben Wolstenholme Ryan Smith

Chair supported by Victoria Robey OBE

Piccolos Stewart McIlwham* Principal Chair supported by Friends of the Orchestra

Gareth Mollison Duncan Fuller Stephen Nicholls Alex Wide Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal

Hannah Grayson

Piccolo Trumpet Nicholas Betts

Oboes Ian Hardwick* Principal Alice Munday

Trombones Mark Templeton* Principal

Cor Anglais Sue Böhling* Principal

David Whitehouse

Clarinets Robert Hill* Principal Thomas Watmough Emily Meredith

Chair supported by William & Alex de Winton

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal

Bass Clarinet Paul Richards Principal

Timpani Simon Carrington* Principal

Bassoons Gareth Newman Principal Julia Staniforth Simon Estell

Harp Rachel Masters* Principal

Contrabassoon Simon Estell Principal Horns David Pyatt* Principal Chair supported by Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal

Celeste Catherine Edwards Assistant Conductor Tim Murray * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Jon Claydon • Andrew Davenport

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London Philharmonic Orchestra

Jurowski and the LPO can stand alongside the top international orchestras with pride Richard Fairman, Financial Times, September 2015 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 community groups. 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 currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives over 30 concerts each season. Throughout 2014/15 the Orchestra gave a series of concerts entitled Rachmaninoff: Inside Out, a festival exploring the composer’s major

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orchestral masterpieces. 2015/16 is a strong season for singers, with performances by Toby Spence and Anne Sofie von Otter amongst others; Sibelius enjoys 150th anniversary celebrations; distinguished visiting conductors include Stanisław Skrowaczewski, JukkaPekka Saraste and Vasily Petrenko, with Robin Ticciati returning after his debut in 2015; and in 2016 the LPO joins many of London’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400 years since his death. The Orchestra continues its commitment to new music with premieres of commissions including Magnus Lindberg’s Second Violin Concerto and Alexander Raskatov’s Green Mass. 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

Pieter Schoeman leader

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

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 80 releases available on CD and to download. Recent additions include Messiaen’s Des Canyons Aux Étoiles under Christoph Eschenbach, and archive recordings of Mahler Symphonies and Beethoven’s Symphony No. 5 conducted by Klaus Tennstedt. 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. 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 a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

the Orchestra’s life: highlights of the 2015/16 season include visits to Mexico City as part of the UK Mexico Year of Culture, Spain, Germany, the Canary Islands, Belgium, a return to the Concertgebouw, Amsterdam and the Orchestra’s debut at La Scala, Milan.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington. 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 performs at London's prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt's Double Concerto with Boris Garlitsky, Brahms's Double Concerto with Kristina Blaumane, and Britten's Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra's own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra 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. 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.

youtube.com/londonphilharmonic7

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Vladimir Jurowski conductor

Jurowski seems to have reached the magic state when he can summon a packed house to hear anything he conducts with the LPO, however unfamiliar

Geoff Brown, The Arts Desk, February 2015

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. Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. In October 2015 he was appointed the next Chief Conductor and Artistic Director of the Rundfunk-sinfonieorchester Berlin, a position he will take up in September 2017, and also accepted the honorary position of Artistic Director of the Enescu International Festival in Bucharest, also from 2017. 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).

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; Moses und Aron at Komische and 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. The Glyndebourne production of Wagner's Die Meistersinger von Nürnberg, led by Vladimir Jurowski with the London Philharmonic Orchestra and Glyndebourne Chorus won the 2015 BBC Music Magazine Opera Award. During the performance we are all 'in the same boat', so since conductors are meant to be silent during the concert, a friendly encouraging look in the right moment is very helpful, almost as helpful as good conducting technique (the latter being rather obligatory). Vladimir Jurowski on engaging players during a performance

He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin Philharmonic, New York Philharmonic and Rundfunk Sinfonieorchester Berlin; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

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As well as his debut at the Salzburg Easter Festival at the helm of the Staatskapelle Dresden, 2015/16 season highlights also include bringing together the London Philharmonic Orchestra and State Academic Symphony of Russia to perform Schoenberg's Gurrelieder at the Moscow Rostropovich Festival. In 2007 Vladimir was a guest on BBC Radio 4's flagship programme Desert Island Discs. Discover his eight records of choice here: bbc.co.uk/programmes/b007w97r

Soile Isokoski soprano

Is there a more beautiful soprano voice in opera today? Hugh Canning, The Sunday Times

Soile Isokoski’s name originally means ‘the northern light’ – a light that she carries to the world today in an exceptional way. One of the most celebrated sopranos to emerge from Finland, Isokoski studied at the Sibelius Academy in Helsinki and made her stage debut with Finnish National Opera. She has gone on to capture audiences and critics alike across the world, winning the coveted Pro-Finlandia Medal in 2002 in honour of her notable contribution to Finnish music. A regular guest at the most renowned opera houses, Isokoski is also a familiar face on the world’s most prestigious concert stages, working with conductors including Philippe Herreweghe, Jukka-Pekka Saraste, Esa-Pekka Salonen, Seiji Ozawa, John Eliot Gardiner, Zubin Mehta, Daniel Barenboim, Sir Simon Rattle, Marek Janowski, Bernard Haitink, Claudio Abbado, Riccardo Muti, Valery Gergiev, Pierre Boulez, James Levine, Leif Segerstam and Michael Tilson Thomas, as well as giving numerous recitals. Isokoski’s acclaimed discography includes Strauss’s Four Last Songs under Marek Janowski (Gramophone Editor’s Choice Award 2002), as well as two Sibelius CDs under the baton of Leif Segerstam: Kullervo with Tommi Hakala (Diapason d’Or 2008) and Luonnotar and Orchestral Songs (MIDEM Classical Award, BBC Music Magazine Vocal Award and Disc of the Year 2007). She was awarded the Sibelius Medal in 2007 and was honoured with the title of Austrian Kammersängerin in 2008. In 2011 she received an Honorary Doctorate from the University of Helsinki.

Isokoski’s recent engagements have included the title role in Ariadne auf Naxos (Glyndebourne Festival Opera), Donna Elvira in Don Giovanni (Los Angeles Opera), Marschallin in Der Rosenkavalier (in London, Geneva, Vienna, Paris and Munich), Blanche de la Force in Dialogues des Carmélites (Bayerische Staatsoper), Desdemona in Otello (Deutsche Oper Berlin and Wiener Staatsoper), Marguerite in Faust in Vienna, Ellen Orford in Peter Grimes in Dresden, and Elsa in Lohengrin in Los Angeles and Dresden. I read poetry a lot, and in my youth I wrote poems of my own, too. I love poetry so much, and Lieder combine music and poems so fantastically. Beautiful words are combined with beautiful music. I'm like Madeleine in Capriccio: I can't decide if the music or the words is more important. Soile Isokoski in an interview with Dominic McHugh for MusicalCriticism.com, 2009.

Isokoski teaches singing at the Oulu University of Applied Sciences and is a guest professor at the Sibelius Academy, Helsinki. She recently served as a jury member for the BBC Cardiff Singer of the World competition and the Mirjam Helin International Singing Competition.

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Programme notes

Speedread In spite of its title, Magnus Lindberg’s Gran Duo is for 24 instruments, the dialogue setting the 13 wind instruments against the 11 brass in an exploration of the sounds possible from an orchestra without strings or percussion. Sonic experiments are at the core, too, of Mozart’s ‘Notturno’, K286, an otherwise unassuming work distinguished by its playful echo effects. By contrast, the Wind Serenade, K388, is a work that breaks the traditional emotional bonds of the genre to become one of the greatest works ever written for wind ensemble.

Wolfgang Amadeus Mozart

In the years left to him after the Second World War, Richard Strauss lamented what he saw as the death of the Germanic culture represented among other things by the music of Mozart. His own art had lost none of its power to move, however, and perhaps his most profoundly moving legacy is his ‘last’ set of orchestral songs, in which death is addressed with calm acceptance in music of haunting beauty.

Serenade No. 8 in D major (Notturno), K286 1 Andante 2 Andante grazioso 3 Menuetto & Trio

1756–91

The works generally known as Mozart’s orchestral Serenades – for which he used various names including Cassation, Divertimento and Notturno – are not heard in live performance all that often, but then, unlike his piano concertos and symphonies, they were never intended for the concert hall. Instead, they were composed to adorn the superior functions and celebrations of Salzburg town life – Carnival time, grand weddings, birthdays or namedays of prominent people, ennoblement ceremonies, ends of the university academic year – and would often have been performed outdoors, perhaps to an audience who was paying less than full attention. It is not known for what purpose Mozart composed the Notturno, K286, though his title for it at least hints at performance after dark. Nor did he date the manuscript, and the best scholars have been able to manage is to propose January 1777 on the evidence of handwriting 8 | London Philharmonic Orchestra

and paper-type analysis, thus suggesting that it might therefore have been written for Carnival. If so, it was perhaps to make his listeners smile in remembrance of the atmosphere of a balmy summer-evening courtyard that Mozart cast it for four small orchestras of strings and horns – one to play the music ‘as is’ and the other three to provide successive echo effects, each shorter than the last. Its three-movement format, ending with a minuet, may look odd to those familiar with Mozart's symphonies, but was common enough in Austrian serenades of the time. Complex composition was not required in such works, and here each movement is formally speaking fairly simple – the first suave, leisurely and lyrical; the second breezy and good-natured; and the third a minuet that reeks of the ballroom. Time, clearly, to shut out the winter night air.

Magnus Lindberg

Gran Duo

born 1958

Gran Duo may seem rather an odd title for a work when you look at the stage and see 24 instruments lined up to perform it: three flutes (one doubling piccolo), two oboes, cor anglais, three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones and tuba. But that’s because the ‘grand duality’, so to speak, is not between two individual instruments, but between two groups of instruments: the woodwind and the brass. Each has its own material: the woodwind enter with bubbling figures, like the dawn chorus in their suggestion of energy, to which the brass eventually respond with a broad and sturdy chorale-like passage. A ‘Publisher’s Note’ in the score explains that these initial characters, ‘equating to the poetic stereotypes of “masculine” and “feminine”, become progressively blurred and androgynised during the course of the work as larger sound-masses give way to chamber music-style subgroupings and individual instrumental solos’. This description might suggest a process something like the ‘mutual exchange of atoms’ that occurs when Flann O’Brien’s eponymous Third Policeman sits upon his bicycle and each takes on the characteristics of the other, but it is far more complex than meets the ear. Although over the past two decades or so Lindberg’s music has taken on an increasingly Romantic tone, Lindberg is clear in his own mind that his compositional technique remains that of a modernist – but unlike many other modernists he is not afraid of the past. His contact with it can be structural: his music sets considerable weight on the importance of functional, directional, classical harmony. It can be verbal: in the title Gran Duo there’s an allusion to Mozart’s Wind Serenade No. 10, known as the 'Gran Partita'. It can be referential: Lindberg's First Violin Concerto, for example, opens with a nod to Sibelius’s Violin Concerto, and the scoring of Gran Duo is almost identical to

that of Stravinsky’s Symphonies of Wind Instruments. But Lindberg’s melodic practice reveals the enduring influence of serialism: he doesn’t write tunes of any kind; instead, he generates small cells and motifs and uses them as his building blocks.

With its five connected movements Gran Duo is a symphony in the modern sense ... a darkly brooding yet peaceful work that reflects something of a unique landscape. The Times

In Gran Duo these small units feed into a structure of considerable complexity which reveals the modernist at work. The over-arching shape – a single span of around 20 minutes in duration – is built from five smaller paragraphs, themselves bringing together 19 subsections. Moreover, Lindberg divides his instruments into eight smaller families, which subdivide and reunite as the music requires. But this kind of detail is meat for the analyst rather than the listener, who must judge the effectiveness of the work as sound. And Lindberg’s skill in unifying two very different approaches is undeniable: for all the intricacies of its construction, Gran Duo sometimes sounds like a Nordic tone-poem, a Sibelian piece of nature-painting; indeed, there’s a throwaway reference to Tapiola at the end. And just as with Sibelius, Lindberg’s music often seems to be a manifestation of natural phenomena: in Gran Duo, for example, it’s easy to imagine the woodwind writing as the eddies on the surface of a river while the brass reflects the more powerful forces below, driving it onwards. In the long run an awareness of the compositional nuts and bolts of Gran Duo is no more necessary for an enjoyment Continued overleaf London Philharmonic Orchestra | 9

Programme notes continued

of the music than an understanding of internal combustion or aerodynamics at a Formula One race meeting.

Gran Duo was written in 1999–2000 to a City of Birmingham Symphony Orchestra/Royal Festival Hall Millennium Commission and first performed in this very space on 8 March 2000, by the City of Birmingham Symphony Orchestra conducted by Sir Simon Rattle. Programme note © Martin Anderson

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

Magnus Lindberg: LPO Composer in Residence Finnish composer Magnus Lindberg became the London Philharmonic Orchestra’s Composer in Residence at the beginning of the 2014/15 season. Last season's highlights included the world premiere of Accused with soprano Barbara Hannigan. Last month the Orchestra gave the world premiere of Lindberg's Violin Concerto No. 2 with soloist Frank Peter Zimmermann. Lindberg also plays an active role in the Orchestra’s education activities, mentoring the four participants on the LPO Young Composers scheme, and will conduct this year's annual Debut Sounds concert on 4 July 2016 showcasing the young composers' new works.

Lindberg was born in Helsinki in 1958. Following piano studies, he entered the Sibelius Academy where his composition teachers included Einojuhani Rautavaara and Paavo Heininen. His compositional breakthrough came with two large-scale works, Action–Situation–Signification (1982) and Kraft (1983–85), which were inextricably linked with his founding with Esa-Pekka Salonen of the experimental Toimii Ensemble. Lindberg was Composer in Residence of the New York Philharmonic between 2009 and 2012, with new works including the concert-opener EXPO premiered to launch Alan Gilbert’s tenure as the orchestra’s Music Director, Al Largo for orchestra, Souvenir for ensemble, and Piano Concerto No. 2 premiered by Yefim Bronfman in 2012. Lindberg’s music has been recorded on the Deutsche Grammophon, Sony, Ondine, Da Capo and Finlandia labels. He is published by Boosey & Hawkes. Reprinted by kind permission of Boosey & Hawkes

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Wolfgang Amadeus Mozart 1756–91

When Mozart moved to Vienna in 1781 to try his luck as a freelance composer and performer, he found the Imperial capital a far more musically conducive place than provincial Salzburg had been. It is from the ten years he spent there before his early death that the vast majority of his greatest works come, inspired by the city’s cultural sophistication and high standards of musical performance and professionalism. These showed themselves in his music in numerous ways, but one very noticeable one was the increased attention he paid to writing for wind instruments. Vienna was well supplied with talented wind players, and Mozart wrote generously for them, whether within the orchestra in his piano concertos, symphonies and operas, or in the three great wind serenades that have come to be seen as the greatest of their kind: K361 (known as the Gran Partita), K375 in E flat major, and K388 in C minor. As with K286, the reason for the composition of K388 is not known, though it can at least be dated with some certainty to the summer of 1782. Even harder to to explain, however, is the mood of the work. Stormy, dark-hued and minor-key, it was hardly the sort of ‘night music’ traditionally looked for in this kind of piece, while its four-movement structure is more symphonic than serenade-like. Perhaps for once it was intended as a concert piece, and maybe that explains, too, why Mozart later saw it as a suitable candidate for salvage in a transcription for string quintet (K406).

Wind Serenade No. 12 in C minor (Nacht Musik), K388 1 Allegro 2 Andante 3 Menuetto in canone 4 Allegro

The first movement is a hard-driving Allegro stuffed with taut, emotionally tense and often closely worked thematic ideas of a species typical of Mozart in this key; when, after a turbulent central development, its formerly more relaxed second theme returns in a minor-key transformation the effect is positively sinister. The warmly elegant Andante strikes more of a serenade-like pose, though even here its expression has an undeniably inward nature that would have made it stand out in a more conventional work. The Menuetto is austerely contrapuntal: a canon at one bar’s distance between varying combinations of instruments, and then in the central Trio a double mirror canon (two related canons at once, in each of which one of the parts is inverted). The work ends with a theme and variations in which the prevailing mood remains troubled, and where even the customary turn to the major key at the end is preceded by a passage of eerie mystery.

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Programme notes continued

Richard Strauss 1864–1949

Four Last Songs Soile Isokoski soprano 1 Frühling [Spring] 2 September 3 Beim Schlafengehen [Going to Sleep] 4 Im Abendrot [At Sunset]

The song texts begin on the opposite page. In August 1941, shortly after completing his 15th opera, the 77-year-old Strauss answered an enquiry from the conductor Clemens Krauss about further projects with two questions: ‘Do you really think that after Capriccio there can follow anything better or at least as good? Isn’t this D-flat major the best conclusion to my theatrical life-work?’ To be sure, he did not return to opera, yet for most people it is not Capriccio that represents one of the most moving of all composers’ final artistic statements, but the four orchestral songs Strauss completed while staying in Switzerland with his wife Pauline in the summer of 1948, the year before his death. Premiered and published posthumously, they have come to be known as the ‘Four Last Songs’, a title whose valedictory tone is entirely appropriate, for as expressions of the calm resignation of that period at the end of life when the soul is at peace, when the seasons sharpen in significance, and when, with eternity waiting beyond, nearby death holds no fears, they are without equal. The songs – settings of three poems by Hesse and one by Eichendorff – do not seem to have been intended to make a formal cycle, but the order of performance chosen by Strauss’s publisher makes a convincing sequence. Frühling (‘Spring’) welcomes the arrival of the season whose return gains greater importance as life goes on. Here the music seems to float above the ground, held aloft by the restless tonality of the accompaniment and by soaring, ecstatic vocal melismas.

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In the second song, the melancholy September, summer is already almost past; gently undulating chords, plunging strings and a broad vocal line evoke the slow dying back of nature, before a serene and moving close shows summer closing its tired eyes. Weariness is the theme again in Beim Schlafengehen (‘Going to Sleep’), a setting of a poem that Hesse wrote at a time when his wife had suffered a nervous breakdown. But although the mood at the start is similar to that of September, with the first two verses looking to sleep for blissful oblivion, the ending takes a different turn as a solo violin awakes the ‘unguarded spirit’ and a new, radiant hope arises. Im Abendrot (‘At Sunset’) was the first of the songs to be composed, and Eichendorff’s depiction of an elderly couple who, after travelling through life, become aware of the presence of easeful death, was clearly the inspiration for them all. As the couple view the beauties of nature with renewed clarity – and two flutes depict a pair of skylarks – they look forward to a ‘spacious, tranquil peace’. At the end, the kindly orchestra grants it, and the flutes take flight again. Mozart and Strauss programme notes and Speedread © Lindsay Kemp

Four Last Songs texts

Frühling

Spring

In dämmrigen Grüften Träumte ich lang Von deinen Bäumen und blauen Lüften Von deinem Duft und Vogelgesang.

In dusky vaults I long dreamed Of your trees and blue skies, Your scents and birdsong.

Nun liegst du erschlossen In Gleiss und Zier Von Licht übergossen Wie ein Wunder vor mir.

Now you lie revealed In glittering adornment Bathed in light Like a miracle before me.

Du kennst mich wieder, Du lockst mich zart, Es zittert durch all meine Glieder Deine selige Gegenwart.

You recognise me, You tenderly entice me, There quivers through all my limbs Your blessed presence.

Hermann Hesse September

September

Der Garten trauert, Kühl sinkt in die Blumen der Regen. Der Sommer schauert Still seinem Ende entgegen.

The garden is in mourning, Coolly the rain falls on the flowers. The summer shudders Quietly towards its end.

Golden tropft Blatt um Blatt Nieder vom hohen Akazienbaum. Sommer lächelt erstaunt und matt In den sterbenden Gartentraum.

Golden leaf after leaf drops Down from the tall acacia tree. Summer smiles astonished and faint In the dying garden dream.

Lange noch bei den Rosen Bleibt er stehen, sehnt sich nach Ruh. Langsam tut er die Müde gewordenen Augen zu.

For a long time by the roses It lingers, longing for rest. Slowly it closes its Weary eyes.

Hermann Hesse Beim Schlafengehen

Going to Sleep

Nun der Tag mich müd’ gemacht, Soll mein sehnliches Verlangen Freundlich die gestirnte Nacht Wie ein müdes Kind empfangen.

Now the day has tired me, My ardent wish is to Welcome the starry night Like a weary child.

Hände lasst von allem Tun, Stirn vergiss du alles Denken, Alle meine Sinne nun Wollen sich in Schlummer senken.

Hands be done with every deed, Brow forget your every thought, All my senses now Want to sink in slumber.

Und die Seele unbewacht Will in freien Flügen schweben, Um im Zauberkreis der Nacht Tief und tausendfach zu leben.

And the unguarded spirit Wants in free flight to soar, So in the magic circle of the night Deeply and a thousandfold to live.

Hermann Hesse London Philharmonic Orchestra | 13

Song texts continued

Im Abendrot

At Sunset

Wir sind durch Not und Freude gegangen Hand in Hand, vom Wandern ruhen wir nun überm stillen Land.

We have through hardship and joy walked hand in hand, from our travels we are resting now in the quiet countryside.

Rings sich die Täler neigen, es dunkelt schon die Luft, zwei Lerchen nur noch steigen nachträumend in den Duft.

All around the valleys incline, it is already getting dark, only two larks are still rising dreamily in the atmosphere.

Tritt her und lass sie schwirren, bald ist es Schlafenzeit, dass wir uns nicht verirren in dieser Einsamkeit.

Come here and leave them whirring, it will soon be time to sleep, we must not lose our way in this solitude.

O weiter, stiller Friede! So tief im Abendrot. Wie sind wir wandermüde – ist dies etwa der Tod?

O spacious, silent peace! So profound in the sunset. How travel-weary we are – is this perhaps death?

Recommended recordings of tonight’s works Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. Mozart: Serenade No. 8 (Notturno), K286 Vienna Mozart Ensemble | Willi Boskovsky [Decca: download only] Magnus Lindberg: Gran Duo Finnish Radio Symphony Orchestra | Sakari Oramo [Ondine] Mozart: Wind Serenade No. 12 (Nacht Musik) London Wind Soloists | Jack Brymer [Decca] R Strauss: Four Last Songs Lucia Popp | London Philharmonic Orchestra | Klaus Tennstedt [Warner] or Jessye Norman | Leipzig Gewandhausorchester | Kurt Masur [Philips]

14 | London Philharmonic Orchestra

English translations © Eric Mason

Mini film guides to this season’s works For our 2015/16 season we’ve produced a series of short films introducing the music we’re performing. Watch on our YouTube channel at youtube.com/londonphilharmonic7

Next concerts at Royal Festival Hall Wednesday 27 January | 7.30pm Schnittke Pianissimo Shostakovich Cello Concerto No. 2 Bruckner Symphony No. 3 Vladimir Jurowski conductor Natalia Gutman cello This concert is dedicated to the memory of Kurt Masur. Broadcast live by BBC Radio 3

Saturday 30 January | 7.30pm Beethoven Symphony No. 6 (Pastoral) Alexander Raskatov Green Mass (world premiere)* Vladimir Jurowski conductor Elena Vassilieva soprano Iestyn Davies countertenor Mark Padmore tenor Nikolay Didenko bass Choir of Clare College, Cambridge * Commissioned by the London Philharmonic Orchestra

Wednesday 3 February | 7.30pm Dvořák Overture, Otello Brahms Double Concerto for violin and cello Dvořák Symphony No. 6 Yannick Nézet-Séguin conductor Lisa Batiashvili violin Maximilian Hornung cello

playing the bard in 2016 In collaboration with some of London’s leading cultural, creative and educational institutions, the London Philharmonic Orchestra joins Shakespeare400 with a series of concerts this year celebrating the Bard’s love of music. find out more: lpo and shakespeare400 lpo.org.uk/shakespeare

Tickets £9–£39 (premium seats £65) London Philharmonic Orchestra Ticket Office: 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone.

London Philharmonic Orchestra | 15

Recent releases on the LPO label The Genius of Film Music: Hollywood Blockbusters 1960s to 1980s John Mauceri conductor £10.99 (2 CDs) | LPO-0086

Beethoven: Coriolan Overture Symphony No. 5

Klaus Tennstedt conductor A BBC recording £6.99 | LPO-0087

Browse the catalogue and sign up for updates at lpo.org.uk/recordings Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Available to download or stream online via iTunes, Spotify, Amazon and others.

Subscription Packages Treat yourself or someone you know to a subscription to the London Philharmonic Orchestra's CD releases and they will receive all the new releases on the LPO label for a whole year, mailed before the CDs are available in the shops. Available online at lpo.org.uk/recordings-and-gifts or LPO Ticket Office (020 7840 4242)

One year CD subscription: £79.99 10 CDs (worth at least £100) Exclusive pre-release mailing Inclusive of P&P

Half year CD subscription: £44.99 5 CDs (worth at least £50) Exclusive pre-release mailing Inclusive of P&P

16 | London Philharmonic Orchestra

lpo.org.uk/shakespeare

Concerts at Royal Festival Hall

In collaboration with some of London’s leading cultural, creative and educational institutions, the London Philharmonic Orchestra joins Shakespeare400 with a celebration of the Bard’s love of music, and his influence on it. Join the LPO at Southbank Centre’s Royal Festival Hall this year for a celebration of creativity and collaboration, and dive into a musical world born of the words of the legendary William Shakespeare.

Wednesday 3 February 2016 | 7.30pm Dvořák | Othello Wednesday 10 February 2016 | 7.30pm Sibelius | The Tempest

Pre-concert talks

For four and a half centuries, the most admired playwright and poet in history has inspired music both intimate and grand, devastating and uplifting. Shakespeare’s body of plays and poems has exercised more influence over composers and musicians than anything else in literature bar the Bible, and continues to inspire across the generations of today.

Special performances

The centrepiece of the London Philharmonic Orchestra’s 2015/16 concert season at Royal Festival Hall is Shakespeare400, a festival of concerts, talks and exploratory events celebrating the musical legacy of the world’s greatest playwright, William Shakespeare.

Friday 15 April 2016 | 7.30pm | JTI Friday Series Prokofiev | Romeo and Juliet Saturday 23 April 2016 | 7.30pm Anniversary Gala Concert featuring very special guests Sunday 5 June 2016 | 7.30pm FUNharmonics Family Concert | Bottom’s Dream Wednesday 3 February 2016 | 6.00pm Adapting Othello Wednesday 10 February 2016 | 6.00pm Late works of Shakespeare and others Friday 12 February 2016 | 6.00pm Shakespeare’s Windsor Friday 26 February 2016 | 6.00pm The Macbeths Friday 15 April 2016 | 6.00pm Think you know Romeo & Juliet? Wednesday 27 January 2016 | 6.00pm Hamlet in Russia: Shostakovich’s Hamlet Wednesday 10 February 2016 | 5.00pm New Horizons: Inspired by Shakespeare Saturday 5 March 2016 | 6.00pm Ophelia Dances Saturday 9 April 2016 | 6.00pm LPO Soundworks & Quicksilver: Inspired by Shakespeare Saturday 30 April 2016 | post-concert RCM Big Band: Such Sweet Thunder

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 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 Robert Markwick & Kasia Robinski The Rind Foundation The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

18 | London Philharmonic Orchestra

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Lady Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Neil Westreich William and Alex de Winton Mrs Philip Kan* Simon Robey Victoria Robey OBE Bianca & Stuart Roden Laurence Watt Anonymous Jon Claydon Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller The Jeniffer and Jonathan Harris Charitable Trust Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds* Eric Tomsett The Viney Family John & Manon Antoniazzi Jane Attias David Goldstone CBE LLB FRICS John & Angela Kessler Guy & Utti Whittaker * BrightSparks Patrons: instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

Principal Benefactors Mark & Elizabeth Adams David & Yi Yao Buckley Desmond & Ruth Cecil Mr John H Cook Mr Bruno de Kegel David Ellen Mr Daniel Goldstein Drs Frank & Gek Lim Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mr Geoffrey Bateman Mrs A Beare Ms Molly Borthwick David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Gavin Graham Wim and Jackie Hautekiet-Clare Tony & Susan Hayes Mr Daniel Heaf and Ms Amanda Hill Michael & Christine Henry Malcolm Herring

J. Douglas Home Ivan Hurry Mr Glenn Hurstfield Per Jonsson Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Ms Ulrike Mansel Mr Robert Markwick and Ms Kasia Robinski Mr Brian Marsh Andrew T Mills Dr Karen Morton Mr & Mrs Andrew Neill Mr Michael Posen Alexey & Anastasia Reznikovich Mr Konstantin Sorokin Martin and Cheryl Southgate Mr Peter Tausig Simon and Charlotte Warshaw Howard & Sheelagh Watson Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: Accenture Berenberg Carter-Ruck We are AD Bronze: Appleyard & Trew LLP BTO Management Consulting AG Charles Russell Speechlys Lazard Russo-British Chamber of Commerce Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations Angus Allnatt Charitable Foundation Axis Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust The Candide Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute The Peter Minet Trust

The Ann and Frederick O’Brien Charitable Trust Office for Cultural and Scientific Affairs of the Embassy of Spain in London The Austin and Hope Pilkington Trust The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust 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 Dr Manon Antoniazzi Roger Barron Richard Brass Desmond Cecil CMG Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rachel Masters* George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Laurence Watt Neil Westreich David Whitehouse* * Player-Director Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Alexandra Jupin Jill Fine Mainelli Kristina McPhee Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director (maternity leave)

Alison Atkinson Digital Projects Director

Amy Sugarman PA to the Chief Executive / Administrative Assistant

Clare Lovett Education Director (maternity cover)

Finance

Talia Lash Education and Community Project Manager

Albion Media (Tel: 020 3077 4930)

Lucy Sims Education and Community Project Manager

Philip Stuart Discographer

David Burke General Manager and Finance Director David Greenslade Finance and IT Manager Dayse Guilherme Finance Officer

Richard Mallett Education and Community Producer

Concert Management

Development

Roanna Gibson Concerts Director

Nick Jackman Development Director

Graham Wood Concerts and Recordings Manager

Catherine Faulkner Development Events Manager

Jenny Chadwick Tours Manager Tamzin Aitken Glyndebourne and UK Engagements Manager Alison Jones Concerts and Recordings Co-ordinator

Kathryn Hageman Individual Giving Manager Laura Luckhurst Corporate Relations Manager Anna Quillin Trusts and Foundations Manager Rebecca Fogg Development Co-ordinator

Jo Cotter Tours Co-ordinator

Helen Yang Development Assistant

Orchestra Personnel

Kirstin Peltonen Development Associate

Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians (job-share) Christopher Alderton Stage Manager Damian Davis Transport Manager Madeleine Ridout Assistant Orchestra Personnel Manager

20 | London Philharmonic Orchestra

Marketing Kath Trout Marketing Director Libby Northcote-Green Marketing Manager Rachel Williams Publications Manager Samantha Cleverley Box Office Manager (Tel: 020 7840 4242) Anna O’Connor Marketing Co-ordinator Natasha Berg Marketing Intern

Matthew Freeman Recordings Consultant Public Relations