Ja
ISLE OF
19
y– December r a 20 u n
NOISES Landmark classics inspired by the British Isles 1689 – 2019
Concert programme
lpo.org.uk
Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI Principal Conductor Designate EDWARD GARDNER Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM
Southbank Centre’s Royal Festival Hall Wednesday 23 October 2019 | 7.30pm
Sibelius Night Ride and Sunrise (15’) Thomas Adès Concerto for Piano and Orchestra (UK premiere) (22’) Interval (20’) Holst The Planets, Op. 32 (48’)
Thomas Adès conductor Kirill Gerstein piano Ladies of the London Philharmonic Choir Artistic Director: Neville Creed
Free pre-concert performance 6.15–6.45pm | Royal Festival Hall Student musicians from the Royal College of Music showcase their talent with a performance of chamber works by Thomas Adès.
The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
ISLE OF
NOISES Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Thomas Adès 7 Kirill Gerstein 8 Ladies of the London Philharmonic Choir 9 Programme notes 12 Recommended recordings 13 Sound Futures donors 14 Supporters 16 LPO administration
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 a member of staff for assistance. Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location. Explore across the site with Foyles, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Spiritland, Honest Burger, Côte Brasserie, Skylon and Topolski.
A
warm welcome to this evening’s London Philharmonic Orchestra concert. The Orchestra has enjoyed a longstanding and fruitful relationship with British composer and conductor Thomas Adés, and we are delighted to welcome him back to the Royal Festival Hall stage to conduct the first UK performance of his own Concerto for Piano and Orchestra. Tonight’s soloist is Kirill Gerstein, for whom Adès composed the work, and who gave its world premiere in Boston earlier this year. An atmospheric nightscape by Sibelius and Holst’s thrilling Planets Suite frame the Concerto in what promises to be an evening of musical history in the making. We hope you enjoy this evening’s concert and that you can join us again soon. For full details of this season’s London Philharmonic Orchestra concerts, pick up a 2019/20 season brochure from the foyer racks this evening or visit lpo.org.uk/newseason.
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 us on 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance.
MOBILES AND WATCHES should be switched off before the performance begins.
Out now The Autumn 2019 edition of our free LPO magazine, Tune In. Copies are available at the Welcome Desk, Level 2, Royal Festival Hall, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic
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LPO Junior Artists 2019/20 We recently announced our new LPO Junior Artists for 2019/20, whom we are delighted to welcome to the audience this evening along with their families. LPO Junior Artists is our orchestral experience programme for talented young musicians aged 15–19 from communities and backgrounds currently under-represented in professional UK orchestras. These exceptional young musicians will spend a year as part of the LPO family, working with the Orchestra in workshops and performances, as well as receiving mentoring, advice and professional insights. lpo.org.uk/juniorartists
Photograph © Benjamin Ealovega
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.
On stage tonight
First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich
Vesselin Gellev Sub-Leader Kate Oswin Katalin Varnagy Chair supported by Sonja Drexler
Catherine Craig Martin Hรถhmann Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett
Grace Lee Rebecca Shorrock Morane Cohen-Lamberger Lasma Taimina Eleanor Bartlett Katherine Waller John Dickinson Miranda Allen Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley
Joseph Maher Marie-Anne Mairesse Ashley Stevens Sioni Williams Sheila Law Harry Kerr Sarah Thornett Caroline Sharp Gavin Davies Violas David Quiggle Principal Richard Waters Co-Principal Ting-Ru Lai Susanne Martens Chair supported by Gill & Garf Collins
Laura Vallejo Naomi Holt Alistair Scahill Daniel Cornford Stanislav Popov
Martin Wray Martin Fenn Richard Cookson Cellos Pei-Jee Ng Principal Ilia Laporev Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Sibylle Hentschel Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal George Peniston Jamie Kenny Lowri Morgan Dominic Dudley Samuel Rice Kenneth Knussen Flutes Juliette Bausor Principal Emilia Zakrzewska Stewart McIlwham* Katherine Bicknell Piccolos Stewart McIlwham* Principal Katherine Bicknell Alto Flute Stewart McIlwham*
Bass Oboe Adrian Rowlands
Bass Trombone Lyndon Meredith Principal
Clarinets Thomas Watmough Principal
Euphonium David Whitehouse
Chair supported by Roger Greenwood
Tuba David Kendall Guest Principal
Emma Burgess Charys Green Paul Richards* Bass Clarinet Paul Richards* Principal
Chair supported by Victoria Robey OBE
Nigel Thomas
Bassoons Jonathan Davies Principal
Percussion Andrew Barclay* Principal
Chair supported by Sir Simon Robey
Chair supported by Andrew Davenport
Laura Vincent Antonia Lazenby Simon Estell*
Henry Baldwin Co-Principal Keith Millar Feargus Brennan
Contrabassoon Simon Estell* Principal
Harps Rachel Masters Principal Lucy Haslar
Horns John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Elise Campbell Oliver Johnson Jonathan Lipton Trumpets Paul Beniston* Principal Chair supported by Donors to the 2019 Gala Player Appeal
Celeste Catherine Edwards Organ Ian Tindale * Holds a professorial appointment in London Meet our members: lpo.org.uk/players
Christopher Hart Anne McAneney* Chair supported by Geoff & Meg Mann
Oboes Ian Hardwick* Principal Alice Munday Amy Roberts
Tony Cross Robin Totterdell
Cor Anglais Sue Bรถhling* Principal
Chair supported by William & Alex de Winton
Chair supported by Dr Barry Grimaldi
Timpani Simon Carrington* Principal
Trombones Mark Templeton* Principal Matthew Lewis
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust The Chiltern Friends of the LPO Friends of the Orchestra Bianca & Stuart Roden Caroline, Jamie & Zander Sharp
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London Philharmonic Orchestra
The London Philharmonic is playing at the peak of its form. Richard Fairman, The Financial Times (27 September 2019: Jurowski conducts Knussen, Britten & Tchaikovsky at Royal Festival Hall)
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 the rest of 2019 we celebrate 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. 2020 will see a new series entitled 2020 Vision, which features 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.
Pieter Schoeman leader
In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. 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 youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra
Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega
The London Philharmonic Orchestra has recorded 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, Beethoven’s Symphonies Nos. 3 & 5 under the late Kurt Masur, and a film music disc under Dirk Brossé.
Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.
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Thomas Adès conductor
Adès and the LPO, on top expressive form, delivered in a performance that hinted at space through a brilliantly controlled taut mobility. This was quite a season launcher.
© Brian Voce
Peter Reed, Classical Source, 26 September 2018 (LPO 2018/19 season opening concert at Royal Festival Hall)
Thomas Adès was born in London in 1971. Renowned as both composer and performer, he works regularly with the world’s leading orchestras, opera companies and festivals. His compositions include three operas: The Exterminating Angel (premiered at the 2016 Salzburg Festival and subsequently performed at the Metropolitan Opera in New York and the Royal Opera House, London); The Tempest (Royal Opera House, 2004); and Powder Her Face (Cheltenham Festival and Almeida Theatre, 1995). His orchestral works include Asyla (1997); Tevot (2007); Polaris (2011); the Violin Concerto Concentric Paths (2005), which will be performed at Royal Festival Hall on 7 December 2019 by Anthony Marwood and the LPO; In Seven Days (piano concerto with moving image, 2008); Totentanz for mezzo-soprano, baritone, and orchestra (2013); as well as the Concerto for Piano and Orchestra, which was premiered by the Boston Symphony Orchestra earlier this year and receives its UK premiere tonight. His compositions also include numerous celebrated chamber and solo works. As a conductor, Thomas appears regularly with the Los Angeles, San Francisco and London Philharmonic orchestras; the Boston, London, BBC and City of Birmingham symphony orchestras; the Royal Concertgebouw Orchestra; the Leipzig Gewandhaus Orchestra; and the Czech Philharmonic. In opera, in addition to The Exterminating Angel, he has conducted The Rake’s Progress at the Royal Opera House and the Zürich Opera, The Tempest at the Metropolitan Opera and Vienna State Opera, and Gerald Barry’s latest opera Alice’s Adventures Under Ground in Los Angeles (world premiere) and in London (European premiere). In the 2019/20 season Thomas has a residency with the Royal Concertgebouw Orchestra, makes his debut with the Bavarian Radio Symphony Orchestra, and returns to the
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Helsinki Philharmonic Orchestra. In the USA, he returns to the Los Angeles and Boston symphony orchestras. He also returns to the Royal Opera House twice this season, to conduct the premiere of his new ballet The Dante Project, as well as Barry’s Alice’s Adventures Under Ground. Thomas has been an Artistic Partner of the Boston Symphony Orchestra since 2016 and will conduct the orchestra in Boston and at Tanglewood, perform chamber music with the orchestra players, and lead the summer Festival of Contemporary Music. His piano engagements include solo recitals at Carnegie Hall (Stern Auditorium) in New York and Wigmore Hall in London, and concerto appearances with the New York Philharmonic. This season will see the release of his album of solo piano music by Janáček, and he will also join Simon Keenlyside in a recital of Schubert’s Winterreise at the Vienna State Opera. His many awards include the Grawemeyer Award for Asyla (1999); Royal Philharmonic Society large-scale composition awards for Asyla, The Tempest and Tevot; an Ernst von Siemens Composers’ Prize for Arcadiana; and a British Composer Award for The Four Quarters. His CD recording of The Tempest from the Royal Opera House (EMI) won the Contemporary category of the 2010 Gramophone Awards; his DVD of the production from the Metropolitan Opera was awarded the Diapason d’Or de l’année (2013), Best Opera Recording (2014 Grammy Awards) and Music DVD Recording of the Year (2014 ECHO Klassik Awards); and The Exterminating Angel won the World Premiere of the Year at the International Opera Awards (2017). In spring 2020 he will receive the Toru Takemitsu Composition Award at Tokyo Opera City, where he will also conduct a concert of his own music.
Kirill Gerstein piano
Kirill Gerstein now belongs to the class of the most renowned classical pianists, thanks to the idiosyncratic soundworlds he creates and his profoundly universal understanding of music. © Marco Borggreve
Süddeutsche Zeitung, 26 March 2019
Kirill Gerstein’s curiosity and versatility have led to an intense engagement with a wide range of repertoire and styles. From Bach to Adès, his playing is distinguished by its clarity of expression, discerning intelligence and virtuosity. His energetic and imaginative musical personality has taken him rapidly to the top of his profession. Over the last season, Kirill Gerstein’s collaboration with composer and pianist Thomas Adès came to the fore with the world and European premieres of Adès’s new Concerto for Piano and Orchestra, commissioned by the Boston Symphony Orchestra and written especially for Gerstein. During the 2019/20 season, the duo – who have performed together regularly since they first met in 2007 – take the new Concerto to London for its UK premiere with the LPO this evening, Helsinki, Munich, Amsterdam and Los Angeles. Gerstein also brings the new work to the Danish National Symphony Orchestra and The Cleveland Orchestra. Based in Berlin, Kirill Gerstein appears worldwide in performances ranging from concerts with the Chicago and Boston symphony orchestras, the Leipzig Gewandhaus Orchestra, the Royal Concertgebouw Orchestra, the Vienna and Berlin Philharmonics, the London Symphony Orchestra and the Bavarian Radio Symphony Orchestra, to recitals in London, Berlin, Vienna, Paris and New York. He is the sixth recipient of the prestigious Gilmore Artist Award, which has enabled him to commission new works from Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen and Brad Mehldau. Previous accolades include First Prize at the 10th Arthur Rubinstein Competition and an Avery Fisher Career Grant.
Kirill Gerstein’s carefully curated recording projects for Myrios Classics have recently included the release of Busoni’s monumental Piano Concerto with the Boston Symphony Orchestra and Sakari Oramo; ‘The Gershwin Moment’ with the St Louis Symphony and David Robertson, plus special appearances from Storm Large and Gary Burton; and Liszt’s Transcendental Études, picked by The New Yorker as one of 2016’s notable recordings. He has recorded Scriabin’s music for piano and orchestra with the Oslo Philharmonic and Vasily Petrenko for LAWO Classics, and his recording of Tchaikovsky’s three piano concertos for Semyon Bychkov’s ‘The Tchaikovsky Project’ with the Czech Philharmonic was released by Decca Classics in August 2019. Born in 1979 in Voronezh, Russia, Kirill attended one of the country’s special music schools for gifted children and taught himself to play jazz by listening to his parents’ record collection. Following a chance encounter with jazz legend Gary Burton in St Petersburg when he was 14, he was invited to attend the Berklee College of Music in Boston, where he studied jazz piano but also continued his classical piano studies. At the age of 16 he decided to focus on classical music and moved to New York City to attend the Manhattan School of Music, where he studied with Solomon Mikowsky. He continued his studies with Dmitri Bashkirov in Madrid and Ferenc Rados in Budapest. Believing that teaching is an integral part of being a musician, Gerstein led piano classes at the Stuttgart Musik Hochschule between 2007 and 2017, and in October 2018 took up the post of Professor of Piano at the Hanns Eisler Hochschule in Berlin.
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Ladies of the London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Chairman Tessa Bartley | Choir Manager Bethea Hanson-Jones | Accompanist Jonathan Beatty
Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio.
The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. This year the Choir is proud to be supporting homeless charity Crisis by leading a choral force behind the fight to end homelessness. The Choir is encouraging choruses around the UK to programme Paul Fincham’s Ring the Bells in their Christmas concerts and services, with all composer royalties being donated to Crisis. For more information visit lpc.org.uk/ringthebells.
© Louise Kragh Photography
Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Highlights in recent years have included Verdi’s Requiem with Edward Gardner; Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; Haydn’s The Creation with Sir Roger Norrington; and Tallis’s Spem in alium and Mahler’s Symphony No. 8 under Vladimir Jurowski. Sopranos Annette Argent Tessa Bartley Hilary Bates Catherine Boxall Jo Bryant Laura Buntine Coco Burch Helen Clough Antonia Davison Rosie Grigalis Jane Hanson Joy Lee Ilona Lynch Janey Maxwell Christina McNeill Katie Milton Mariana Nina Linda Park Danielle Reece-Greenhalgh Courtney Reed Marit Shuman Katie Stuffelbeam Susan Thomas
Rachel Topham Elizabeth Townsend Rochelle Williams Sze Chan Ying Altos Jenny Burdett Liz Cole Sara De La Serna Miranda Fern Kathryn Gilfoy Jane Goddard Bethea Hanson-Jones Judy Jones Lisa MacDonald Laetitia Malan Sophie Morrison Anna Mulroney Miranda Ommanney Elizabeth Steele Annette Strzedulla Eleni Thwaites Susi Underwood
Join us: lpc.org.uk facebook.com/LondonPhilharmonicChoir twitter.com/lpchoir
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Programme notes
Speedread One of the reasons Gustav Holst didn’t include ‘Earth’ in his musical collection The Planets was surely because he felt too close to it. Given the limited scientific thinking of the 1910s, the other planets in the solar system were little more than images for Holst – albeit majestic images of jollity, magic, mysticism, war and peace. They were perfect for the projection of what were, essentially, human characteristics. Anyway, we do have a depiction of Earth in tonight’s concert – or at least, one of our own planet’s most beautiful phenomena: a sunrise. This sunrise is viewed from near its northern pole, where light has an altogether different quality. Sibelius’s Night Ride
Jean Sibelius
and Sunrise combines that apparently eternal natural phenomenon with the base excitement of a sleigh ride through the night. In between the two comes Thomas Adès’s Piano Concerto (his second, if you count the masterpiece for piano, orchestra and film, In Seven Days). This new concerto by the British composer hasn’t been heard in the UK before, and was hailed as ‘Adès’s greatest achievement to date’ by one commentator when it was premiered in Boston earlier this year. There might be a good reason Adès wanted to conduct Sibelius at this concert: both composers have an uncanny ability to squeeze a compelling dialogue out of tiny yet fertile fragments of music.
Night Ride and Sunrise
1865–1957
Sibelius had a habit of contradicting himself when trying to explain the provenance of his music. Every time someone asked the composer which particular journey and which particular sunrise inspired his tonepoem Night Ride and Sunrise, he gave a different answer. One even involved him standing in front of the Colosseum in Rome, seeing it bathed in moonlight. The Finnish composer’s most evocative answer was the one he gave his secretary Santeri Levas. He told Levas that Night Ride and Sunrise had been inspired by a sleigh ride from Helsinki to Kerava, around the turn of the century. ‘The whole heavens were a sea of colours that shifted and flowed, producing the most inspiring sight, until it all ended in a growing light,’ Sibelius recalled. The ‘growing light’ bit makes sense. Night Ride and Sunrise moves from tripping, momentum-fuelled nighttime music towards break of day and a glowing sunrise.
But the piece is more than a tone-poem of two contrasting halves. It is a demonstration of how Sibelius could create a single musical entity from apparently different ingredients, while convincing us they were born of the same source. When asked how he plotted the themes of the piece, Sibelius suggested such designs were out of his control. It was describing this score, before its first performance in St Petersburg in 1909, that he coined his famous phrase ‘miraculous logic.’ That doesn’t preclude an analysis of what happens when. After a good eight minutes, the tripping sleigh-ride rhythms (typically Finnish) start to smooth out, courtesy of the ‘sunrise’ theme introduced by woodwinds. Gradually, the music slows towards a hymn, and a luminous apotheosis. In that transformation, the piece feels remarkably like one of Sibelius’s symphonies in miniature. London Philharmonic Orchestra | 9
Programme notes continued
Thomas Adès born 1971
Concerto for Piano and Orchestra (UK premiere) Kirill Gerstein piano 1 Allegramente 2 Andante gravemente 3 Allegro giojoso
Commissioned by the Boston Symphony Orchestra for Kirill Gerstein. The first performance was given by Kirill Gerstein with the Boston Symphony Orchestra, conducted by Thomas Adès, at Symphony Hall, Boston, on 7 March 2019.
The first movement of the Concerto, Allegramente, opens with a statement of the theme by piano and then tutti. A march-like bridge passage leads to the more expressive second subject, first played by the piano and then taken up by the orchestra. The development section interrogates the first theme before an octave mini-cadenza leads to the recapitulation, ff. There is then a solo cadenza based on the second subject, first played tremolo and then over many octaves, the piano joined first by the horn and then by full orchestra. The movement ends with a coda based on the first theme and the march. The second movement, Andante gravemente, consists of a chordal introduction and a melody, which is joined by a countermelody, and a second idea with a simple falling melody over rising harmony. The first melody reappears, leading to a fortissimo climax, subsiding to a final statement of the original theme and a coda based on the countermelody. The finale, Allegro giojoso, begins with a three-chord call to arms, and then a tumbling theme for piano and orchestra, which is interrupted by the blustering entry of a clarinet solo, heralding a burlesque canon. There is here a good deal of argument, with frequent differences of opinion as regards key, brought to an end by the call to arms. Eventually the piano takes up a new theme in the style of a ball bouncing down stairs and develops it to a choral climax. The tumbling material is developed, and the call to arms is heard in multiple directions leading to an impasse, a winding down of tempo, and a new slow (Grave) section in triple time with a falling theme. This leads to a precipice which
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the piano falls off with the original tumbling theme, and a coda lining up all the other themes for a final resolution on the call to arms. © Thomas Adès
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
ADÈS: VIOLIN CONCERTO Saturday 7 December 2019 | 7.30pm Royal Festival Hall Purcell (arr. Manze) Suite Thomas Adès Violin Concerto (Concentric Paths) Lawes (arr. Manze) Fantasy in G Vaughan Williams Job: A Masque for Dancing Andrew Manze conductor Anthony Marwood violin
BOOK NOW AT LPO.ORG.UK OR CALL 020 7840 4242
Gustav Holst
The Planets, Op. 32 Ladies of the London Philharmonic Choir
1874–1934
1 2 3 4 5 6 7
Mars, The Bringer of War Venus, The Bringer of Peace Mercury, The Winged Messenger Jupiter, The Bringer of Jollity Saturn, The Bringer of Old Age Uranus, The Magician Neptune, The Mystic
Gustav Holst wasn’t your average English gent. He was a radical. At least, that’s how he must have seemed to his friends and colleagues in Cheltenham and London around the turn of the last century. Holst’s interest in Indian literature and religion led to an intense study of Sanskrit, which he used to translate hymns from the ancient collection known as the Rigveda before setting them to music. He was fascinated by transcendentalism and mysticism, holding the pursuit of material success to be the world’s last bastion of evil. As a counterpoint to his teaching at London’s most exclusive girls’ school, he distributed outspoken left-wing newspapers on the capital’s streets.
composer sensed not only the onset of catastrophic human destruction but also the musical upheavals of Schoenberg and the Second Viennese School, who declared conventional tonality and traditional harmony dead.
The Planets marries that broad world-view with a more Edwardian penchant for order and discipline. Referring to the piece, Holst’s daughter Imogen described her father’s difficulty in conceiving large-scale musical structures, suggesting he looked to the planets of the solar system for some sort of ready-made structural framework. ‘As a rule I study only things that suggest music to me’, the composer himself commented; ‘the character of each planet suggested lots to me.’
The composer began work on The Planets in 1914, initially scoring the movements for piano duet and organ (for the mystical ‘Neptune’) to protect his writing hand from burgeoning arthritis. By 1916 each of the planets was constructed musically (Pluto was undiscovered at the time); the following year Holst set about orchestrating the pieces with the help of two colleagues from school. On 29 September 1918 the piece was given its first performance at the Queen’s Hall in London by the New Queen’s Hall Orchestra, conducted by Adrian Boult.
For the writer Paul Griffiths, Holst’s planets are concerned not so much with astronomy as metaphysics. ‘The world was being profoundly questioned on many fronts’, Griffiths writes of the 1910s, the decade Holst was at work on the piece, suggesting the
It’s a strong argument. Holst’s disgust at Earth’s conflicts and contradictions led him to look beyond it, ‘tracing the archetypal religious quest’ according to theologian Karen Armstrong. But it is Holst’s belief in humanity that shines through in The Planets: we’re left not with pictures of planetary characteristics, but human ones.
‘There is no programme music in them’, Holst explained of his movements, ‘if any guide to the music is required, the subtitle to each piece will be found sufficient,
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Programme notes continued
especially if it is used in a broad sense.’ Still, Holst probably wouldn’t have minded us exploring some of the rich and brilliant orchestral effects he employed. Immediately striking is his use of a five-in-a-bar rhythmic structure in the opening movement, ‘Mars’. Sitting somewhere between Stravinsky’s The Rite of Spring and John Williams’s score for the Star Wars franchise, this terrifying vision of war is hammered out over a repeating rhythmic pattern that eventually destroys itself. The mood is turned on its head with the luminosity of ‘Venus’ – tethered to high woodwinds, harps and celeste – and the nimble stream of flying tones that is Holst’s vision of ‘Mercury’. ‘Jupiter’ pits the striving of its famously broad theme against a more jovial variation on that same idea. ‘Saturn’ is more consistently weighty, built of a lugubrious solemnity from just two chords,
and ‘Uranus’ is a box of musical tricks, kicking off with the blurting out of four orchestral chords that bounce onto the timpani and off in the direction of further variation. In ‘Neptune’, the five-in-a-bar rhythm of the work’s opening returns, but with a difference. The music feels its way into being until Holst conjures a breathtaking sonic effect: the sound of wordless, distant voices, emerging and then receding again. It’s no accident that Holst arranged his planets in order of increasing distance from the Earth, and here we seem to teeter on the edge not only of the solar system but also of human comprehension. ‘Unforgettable’, said Imogen Holst, reflecting on her first hearing of the effect, ‘the chorus of women’s voices growing fainter and fainter in the distance, until the imagination knew no difference between sound and silence.’ Sibelius and Holst programme notes © Andrew Mellor
Recommended recordings by Laurie Watt
On the LPO CD Label
Sibelius: Night Ride and Sunrise Lahti Symphony Orchestra | Osmo Vänskä (BIS) Holst: The Planets London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0047: see right) or London Philharmonic Orchestra | Adrian Boult (Warner Classics)
Teacher resources for Holst’s The Planets LPO Creative Classrooms Connect is our online space for primary school teachers, providing ideas for classroom music activities inspired by the Orchestra’s repertoire. In our The Planets resource we outline the background to the piece and suggest how to listen to it in class. We also include a project for children to create their own class version of the thrilling famous section, ‘Mars’. lpo.org.uk/cccplanets
12 | London Philharmonic Orchestra
Holst The Planets Vladimir Jurowski conductor London Philharmonic Orchestra and Choir £6.99 | LPO-0047 Recorded live at Southbank Centre’s Royal Festival Hall on 22 May 2009.
CDs available from lpo.org.uk/ recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Spotify, Apple Music, Idagio and others.
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 Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar
Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous
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Thank you
We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle An anonymous donor Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Associates Steven M. Berzin Kay Bryan William & Alex de Winton Hamish & Sophie Forsyth Mrs Irina Gofman 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 Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt
Silver Patrons Ms 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
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Ms Elena Heinz Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home Rose & Dudley Leigh 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 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 HooftGraafland 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 Lady Jane Cuckney OBE Mr David Devons 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 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) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (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) 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 Stephanie Yoshida 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 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 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.
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Administration
Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa Timothy Walker 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 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 AM Laurence Watt Elizabeth Winter
General Administration Timothy Walker AM Chief Executive and Artistic Director
Education and Community Isabella Kernot Education and Community Director
David Burke General Manager and Finance Director
Talia Lash Education and Community Manager
Sarah Gee PA to the Chief Executive/ Office Administrator
Emily Moss Education and Community Project Manager
Finance Frances Slack Finance and Operations Manager
Hannah Tripp Education and Community Project Co-ordinator
Dayse Guilherme Finance Officer
Development Laura Willis Development Director
Concert Management Roanna Gibson Concerts Director
Vicky Moran Development Events Manager
Graham Wood Concerts and Recordings Manager Sophie Richardson Glyndebourne and Projects Manager (maternity leave) Fabio Sarlo Glyndebourne and Projects Manager (maternity cover) 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 Christopher Alderton Stage Manager Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator Laura Kitson Assistant Transport & Stage Manager
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Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Izzy Keig Development Assistant Lewis Hammond Development Assistant ~ Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager Alexandra Lloyd Projects and Residencies Marketing Manager Megan Macarte Box Office Manager (Tel: 020 7840 4242) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Georgie Gulliver Marketing Assistant
Public Relations Premier classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335 Archives Philip Stuart Discographer Gillian Pole Recordings Archive Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045. Composer photographs courtesy of the Royal College of Music, London. Cover artwork Ross Shaw @JMG Studio Printer Cantate