London Philharmonic Orchestra 24 Oct 2018 concert programme by London Philharmonic Orchestra

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2018/19 Concert Season

AT Southbank Centreâ&#x20AC;&#x2122;s Royal Festival Hall

concert programme

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

Southbank Centre’s Royal Festival Hall Wednesday 24 October 2018 | 7.30pm

Berlioz Roman Carnival Overture, Op. 9 (9’) Canteloube Selections from Songs of the Auvergne (27’) Interval (20’) Bizet Symphony in C (28’) Gershwin An American in Paris (17’)

Enrique Mazzola conductor Anna Caterina Antonacci soprano

Concert generously supported by Dior

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

Contents 2

Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Enrique Mazzola 7 Anna Caterina Antonacci 8 Programme notes 10 Song texts and translations 14 Recommended recordings 15 Next concerts 16 New on the LPO Label 17 Sound Futures donors 18 Supporters 20 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, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Honest Burger, Côte Brasserie, Skylon and Topolski. 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. 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 AND WATCHES should be switched off before the performance begins.

Out now The Autumn 2018 edition of Tune In, our free LPO magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic

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Orchestra news

New on the LPO Label: Tchaikovsky symphonies and film music This month sees two new releases on the LPO Label. Last year we released a Complete Tchaikovsky Symphonies box set conducted by Vladimir Jurowski, and now a disc of Symphonies Nos. 2 and 3, taken from the box set, is available as a separate disc priced £9.99 (LPO-0109). Jurowski’s Tchaikovsky has been praised for its nuance, musical empathy and intelligent phrasing, and these live concert recordings are sure to delight all Tchaikovsky-lovers. Our second release this month is The Genius of Film Music: Hollywood Blockbusters 1980s–2000s. Conducted by Dirk Brossé, this is the second compilation of film music on the LPO Label and features some of the best-loved film scores of the late 20th century including Star Wars, The Mission, Indiana Jones and Gladiator, as well as plenty of lesser-known gems for film-score fans. The double CD is priced £10.99 (LPO-0110). All LPO Label CDs are available to buy from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Our recordings are also available to download or stream online via Spotify, Apple Music and others.

LPO Junior Artists This season we are excited to welcome eight new talented teenage musicians as LPO Junior Artists 2018/19. The scheme is an orchestral experience programme for young instrumentalists from backgrounds and communities traditionally under-represented in the orchestral sector. Over the year they will become part of the LPO family, getting to know our musicians, staff and artists and working with younger musicians to promote diversity and celebrate music more widely. lpo.org.uk/juniorartists

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Vesselin Gellev Sub-Leader Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Robert Pool Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett

Rebecca Shorrock Lasma Taimina Evin Blomberg Eleanor Bartlett Nilufar Alimaksumova Essi Kiiski Kana Kawashima Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Eriko Nagayama Kate Birchall Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Marie-Anne Mairesse Ashley Stevens Sioni Williams Harry Kerr Ioana Forna Kalliopi Mitropoulou Kate Cole Nicole Stokes Cathy Fox

Violas David Quiggle Principal Ting-Ru Lai Katharine Leek Susanne Martens Benedetto Pollani Naomi Holt Stanislav Popov Isabel Pereira Richard Cookson Martin Wray Luca Casciato Jill Valentine Cellos Josephine Knight Guest Principal Francis Bucknall Laura Donoghue David Lale Elisabeth Wiklander Helen Rathbone Sibylle Hentschel David Bucknall Iain Ward Michael Wigram Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Laurence Lovelle Charlotte Kerbegian Lowri Morgan Jakub Cywinski Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

Stewart McIlwham*

Piccolo Stewart McIlwham* Principal

Cornets Gwyn Owen Matthew Williams

Oboes Alice Munday Principal

Trombones Mark Templeton* Principal

Chair supported by Friends of the Orchestra

Chair supported by William & Alex de Winton

Amy Roberts

David Whitehouse

Cor Anglais Sue Böhling* Principal

Bass Trombone Lyndon Meredith Principal

Chair supported by Dr Barry Grimaldi

Tuba Lee Tsarmaklis* Principal

Clarinets Jean-Pascal Post Guest Principal Thomas Watmough Chair supported by Roger Greenwood

Bass Clarinet Paul Richards* Principal

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Saxophones Tim Holmes Shaun Thompson Alan Andrews Bassoons Jonathan Davies Principal Gareth Newman Horns John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Elise Campbell Gareth Mollison Richard Ashton Trumpets Paul Beniston* Principal Anne McAneney*

Timpani Marney O’Sullivan Guest Principal

Henry Baldwin Co-Principal Keith Millar Jeremy Cornes Karen Hutt Feargus Brennan Harp Rachel Masters Principal Piano/Celeste John Alley * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

Chair supported by Geoff & Meg Mann

Gwyn Owen

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Sir Simon Robey • Bianca & Stuart Roden • Caroline, Jamie & Zander Sharp

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London Philharmonic Orchestra

The London Philharmonic’s closing concert took excellence and courageous programme planning to levels of expectation and emotional intensity more than once defying belief. Here was an orchestra in terrific form, rising to every challenge. Classicalsource.com (LPO at Royal Festival Hall, 2 May 2018: Panufnik, Penderecki & Prokofiev)

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 performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own record 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. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout the remainder of

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2018 we continue our series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. In 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and British-inspired music from Purcell to the present day. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of the 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. In 2017/18 we 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. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO Young Composers programme; the Foyle Future Firsts orchestral training programme; and the LPO Junior Artists scheme for talented young musicians from communities and backgrounds currently underrepresented in professional UK orchestras. The Orchestra’s work at the forefront of digital engagement and social media has enabled it to reach even more people worldwide: as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include a disc of orchestral works by Richard Strauss including An Alpine Symphony, conducted by Vladimir Jurowski, and a Poulenc disc conducted by Yannick Nézet-Séguin.

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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Enrique Mazzola conductor

Under Mazzola’s direction, the London Philharmonic Orchestra played with great aplomb – no light soufflé this, but a full-blooded Italian affair complete with whirling woodwinds and a gleefully enthusiastic percussion section that matched the riotous fun had by the audience. © Martin Sigmund

Kevin Ng, Bachtrack, 26 July 2016 (Rossini’s Il barbiere di Siviglia with the LPO at the 2016 BBC Proms)

Renowned as an expert interpreter of bel canto opera and a specialist in French repertoire, Italian conductor Enrique Mazzola is in demand worldwide as both an operatic and a symphonic conductor. He has been Artistic & Music Director of the Orchestre National d’Île de France (ONDIF) since 2012, and at the start of the 2018/19 season became Principal Guest Conductor at Deutsche Oper Berlin. This season’s plans include his debut with the Wiener Staatsoper (Don Pasquale) and return visits to the Metropolitan Opera (La fille du regiment), the Opernhaus Zurich (Turco in Italia), the Bregenzer Festspiele (Rigoletto), the Scottish Chamber Orchestra and the Orchestre Symphonique de Québec. He returns to Deutsche Oper Berlin to conduct a new production of Les Contes d’Hoffmann and a charity gala performance featuring renowned international singers. Plans with ONDIF this season include Beethoven’s Piano Concerto No. 3 with Cédric Tiberghien and works by Respighi, of whose music Mazzola is an acclaimed interpreter. Recent seasons have included notable debuts with the Orchestre National du Capitole de Toulouse, Metropolitan Opera, Philharmonia Orchestra, Royal Scottish National Orchestra, Orchestra of the Age of Enlightenment, Oslo Philharmonic, Royal Northern Sinfonia, Scottish Chamber Orchestra, New Japan Philharmonic, Taipei Symphony, Brussels Philharmonic and Swedish Radio Symphony Orchestra. Highlights with ONDIF have included a concert version of Rossini’s La Cenerentola and concerts in Paris at the La Seine Musicale and their sold-out Philharmonie de Paris series. Past opera has included the Rossini Opera Festival, the Théâtre des Champs-Élysées, Den Norske Opera, Deutsche Oper Berlin and the Bolshoi Theatre.

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Performances at Glyndebourne Festival Opera have included Don Pasquale, Poliuto, L’elisir d’amore and Il barbiere di Siviglia, and with Glyndebourne On Tour he has conducted La Cenerentola and a new production of L’elisir d’amore. Enrique Mazzola regularly devotes time to working with young musicians, including from the Accademia Teatro alla Scala, Académie de l’Opéra national de Paris, Opéra Studio de l’Opéra national du Rhin, Accademia del Maggio Musicale Fiorentino and Codarts of Rotterdam, and has given conducting masterclasses with students of the Conservatoire national supérieur de musique de Paris. Major European festivals have included Falstaff at the Aix-en-Provence Festival, the Festival de Radio France et Montpellier, the Enescu Festival and the Haydn Festival with the Orchestre National d’Île de France; the Bregenzer Festspiele; the 2016 BBC Proms with the Glyndebourne production of Il barbiere di Siviglia with the London Philharmonic Orchestra; the München Opernfestspiele; the Rossini Opera Festival; the Venice Biennale; the Wexford Opera Festival; the Festival de Granada and Les Chorégies d’Orange. An accomplished interpreter of contemporary music, Enrique Mazzola has commissioned and conducted several premieres with ONDIF. He conducted the world premieres of Colla’s Il processo at La Scala, Il re nudo by Luca Lombardi at Teatro dell’Opera di Roma, Medusa by Arnaldo de Felice at the Bayerische Staatsoper, Isabella by Azio Corghi at the Rossini Opera Festival, and many other premieres with major European orchestras.

Anna Caterina Antonacci soprano

A great artist, Antonacci has the ability to immerse herself completely in whatever she sings, so that even in extracts we are acutely conscious of an absolute totality of characterisation. Tim Ashley, The Guardian, 3 October 2012 (Orchestra of the Age of Englightenment/Roger Norrington: Queens, Heroines and Ladykillers at Royal Festival Hall)

Established as one of the finest sopranos of her generation, Anna Caterina Antonacci is an awardwinning vocalist, winning multiple prestigious prizes including the International Competition for Verdian Voices (1988), the Maria Callas Competition and the Pavarotti Competition. From the brilliant comic Rossini of her early years, she moved to the composer’s opera serio including Mosè in Egitto, Semiramide, Elisabetta, Regina d’Inghilterra and Ermione. She then introduced the roles of Donizetti’s queens and Mozart’s Donna Elvira (Don Giovanni), Elettra (Idomeneo) and Vitellia (La clemenza di Tito) into her repertoire. This was followed by Gluck’s Armide, staged by Pier Luigi Pizzi and directed by Riccardo Muti, which opened the 1996/97 season at La Scala; Alceste in Parma and Salzburg; and Cherubini’s Medea in Toulouse and at Paris’s Théâtre du Châtelet. Anna Caterina’s triumph as Cassandra in the Châtelet’s 2003 production of Les Troyens with John Eliot Gardiner signalled a migration towards the great heroines of the French repertoire. In Fromental Halévy’s La Juive and Bizet’s Carmen (respectively at Covent Garden under Antonio Pappano and at the Opéra Comique under Gardiner), she revived a tradition of French singing in the spirit of Pauline Viardot, another great Rossinian. These accomplishments were followed by Handel’s Agrippina and Rodelinda. Her portrayal of two roles in Monteverdi’s L’incoronazione di Poppea, Poppea (Munich) and Nero (Paris), inspired ‘Era la notte’: Anna Caterina’s one-woman show based around Monteverdi’s Il combattimento di Tancredi e Clorinda, which continues to tour.

Equally accomplished in the recital hall, Anna Caterina’s relationship with pianist Donald Sulzen has allowed her to increasingly focus on song, be it Italian (Tosti; Respighi) or French, notably Fauré (in particular the song-cycle L’horizon chimérique), Debussy, and Reynaldo Hahn. 2013 was a landmark year, with her first performance of Poulenc’s La voix humaine and noteworthy productions of Fauré’s Pénélope and Reyer’s Sigurd. She began a wonderful year in 2014 with Carmen at Covent Garden opposite Roberto Alagna, conducted by Daniel Oren, and continued with Les Troyens at La Scala, followed by her debut in Gluck’s Iphigénie en Tauride at the Grand Théâtre de Genève. In 2015 Anna Caterina had an opera commissioned for her by Marco Tutino, La ciociara, which premiered at San Francisco Opera. Engagements this season and beyond include Cassandra in David McVicar’s production of Les Troyens at the Wiener Staatsoper; La voix humaine on tour of the Circuito Lombardia; and the title role in Médée at the Grand Théâtre de Genève, directed by David McVicar and conducted by Leonardo García Alarcón. She will also continue to give recitals in major venues across the world with pianist Donald Sulzen.

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Programme notes

Speedread ‘Comment voulez-vous gouverner un pays qui a deux cent quarante-six variétés de fromage?’ – How do you govern a country that has 246 different varieties of cheese? General de Gaulle’s famous lament for the impossibility of keeping France in order echoed the experience of French culture since at least the reign of Louis XIII. The French state, traditionally, has strived to maintain an elegant uniformity in art as well as government. But the national genius has consistently rebelled. The Paris Conservatoire tried to knock the edges off Hector Berlioz – his reaction was to become even more flamboyantly himself.

Hector Berlioz

Later, Joseph Canteloube – the son of an ancien régime family – would seek the true soul of the nation not in the great institutions of Paris, but in the timeless melodies of La France profonde. And even when trying to imitate a respected master, the young Georges Bizet ended up speaking in an accent that’s irrepressibly his own. There’s a certain je ne sais quoi about the Gallic spirit that just can’t be kept within tidy bounds, and it was that sense of unbuttoned, creative individuality that, for artists like Picasso, Stravinsky and George Gershwin, made Paris in the 1920s the centre of the artistic world.

Roman Carnival Overture, Op. 9

1803–69

When in 1831 the elders of the Paris Conservatoire sent Hector Berlioz, flame-haired bad-boy of French music, to study at the French Academy in Rome, they thought it’d be the making of him. No chance. Berlioz laughed at Italian opera, and vanished into the Appennines with a guitar. He found a land of strong wine, cheerful bandits and hot-blooded fun. ‘Girls with raven hair and raucous laughs, who’d dance as fast as I could play, tambourines beating time to my improvised saltarellos, the carabinieri barging in – and insisting on joining the dance’: that’s what Berlioz learned in Rome. And in 1838 he poured it into the first act of his opera Benvenuto Cellini. All that Italian sunshine was too much for the Paris audience, and it flopped. Berlioz never wasted good music, so six years later he recycled it into this flamboyant concert overture. There’s a dazzling flourish, a quiet chord, and then the

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cor anglais sings something that sounds rather like an Italian love song (and it’s exactly that – a love-duet from Cellini). Then, in a dizzying swirl of sound, we’re off: dancing through the thronging streets of Rome to a brilliant tarantella. Hold tight: Berlioz saves the biggest thrills for last.

Marie-Joseph Canteloube

Selections from Chants d’Auvergne (Songs of the Auvergne) Anna Caterina Antonacci soprano

1879–1957

1 Pastourelle 2 Baïlero 3 N’aï pas iéu de mîo 4 Malurous qu’o uno fenno 5 Jou l’pount d’o Mirabel 6 Tè, l’co, tè 7 Uno jionto pastouro The texts and translations begin over the page.

For Marie-Joseph Canteloube de Malaret – aristocrat, composer, musicologist, and one of the few pianists Debussy trusted to play his music correctly – a folk-song, once transcribed by a scholar, ‘is like a pressed flower, dry and dead’. ‘To breathe life into it’, he went on, ‘one needs to see and feel its native hills, scents and breezes.’

a shepherd urges a pretty shepherdess to cross the stream that divides them, and the famous Baïlero tells a very similar story – this time with the haunting repetition of the herdsman’s cry ‘Baïlero-lero’. A piano ripples and glitters through Canteloube’s orchestra like that inconvenient brook.

He spoke from experience. As a boy, his artistic impulses had been awakened by long country walks around the family estate at Malaret in the Auvergne. The second half of Canteloube’s musical career, from 1924 to 1955, would be dominated by his attempt not just to document and collect Auvergnat folk-melodies (often to texts in the regional language of Occitan) but to give his collection that autonomous life, with a series of concert arrangements whose sumptuous orchestral colours use every effect in the armoury of a late-Romantic French composer to evoke the ‘hills, scents and breezes’ of the Auvergne in summer.

The shepherd of N’aï pas iéu de mîo is pining for want of a girl, to the swinging triple-time of the bourrée auvergnate (a very different proposition from the courtly bourrées of Bach and Handel), while the singer of Malurous qu’o uno fenno has realised that the only thing worse than being single is to have a wife – and, of course, vice versa (the orchestra imitates a hurdygurdy). The stream in Jou l’pount d’o Mirabel sounds deeper and wider; the heroine’s loss of her virtue the more poignant. Tè, l’co, tè, meanwhile, deals with an altogether more constant love: a cowherd and his faithful dog. But there’s no hope for the jilted shepherdess of Uno jionto pastouro – though in Canteloube’s sunset colours, her heartbreak sounds positively blissful.

Like folk-songs everywhere, they deal with the joys, sorrows, and playful ironies of love. In Pastourelle,

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

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Song texts and translations

1. Pastourelle 2ème série No. 1

Shepherdess

‘È passo dè dessaï! È passo dellaï l’aïo! Bendras olprès de ièu, Què d’ofaïré parlorèn, È lou restan del jiour N’en parlorén d’amour!’

‘Come here to me! Cross over the river! Come over here that we may discuss matters, and the rest of the day we shall only talk of love!’

‘Né pouodi pas passa! Couci bouos qué iéu passi? N’aï pas de pount d’arcados È n’aï pas dè batéu, Ni máï dè pastourel Qué mè siasco fidèl!’

‘I cannot cross! How can I cross? I have no arched bridge, I have no boat, Nor do I have a shepherd boy To be faithful to me!’

‘Aurias léu un batéu Sè tu èros poulido! Aurias un pount d’arcados, Aurias un pastourel Qué té serio fidèl È máï djusqu’al toumbel.’

‘You would have a boat If you were pretty! You would have an arched bridge, You would have a shepherd boy To be faithful to you Even to the grave.’

2. Baïlèro 1ère série No. 2

Baïlèro

Pastré, dè dèlaï l’aïo, as gaïré dé boun tèms? Dio lou baïlèro lèro, lèro, lèro, lèro, baïlèro, lô! È n’aï pa gaïre, è dio, tu? Baïlèro lèro, lèro, lèro, lèro, baïlèro, lô!

Shepherd over the river, you are not afraid, sing the baïlèro lèro. I am not afraid, and you sing baïlèro lèro.

Pastré, lou prat faï flour, li cal gorda toun troupel! Dio lou baïlèro lèro, lèro, lèro, lèro, baïlèro, lô! L’erb es pu fin’ ol prat d’oïci! Baïlèro lèro, lèro, lèro, lèro, baïlèro, lô!

Shepherd, the field is in flower, bring your flock over here, sing the baïlèro lèro. The grass is finer in the field here, baïlèro lèro.

Pastré, couci foraï, en obal io lou bel riou! Dio lou baïlèro lèro, lèro, lèro, lèro, baïlèro, lô! Es pèromè, té baô çirca! Baïlèro lèro, lèro, lèro, lèro, baïlèro, lô!

Shepherd, the stream is between us, I cannot cross, sing the baïlèro lèro. Wait, I will get you downstream, baïlèro lèro.

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3. N’aï pas iéu de mîo Bourrées; 2ème série No. 5a

I have no girl

N’aï pas iéu de mio, soui qu’un pastourel; mè sé n’obio-z-uno li sério fidèl; s’obio ‘no mio qué m’aïmesse plo, dé poutous, dé flours iéu lo coubririo!

I have no girl of mine, I am only a shepherd; if I had one, I would be faithful to her; if I had one that loved me, I would cover her with kisses, with flowers!

Mè sul pount d’Entraygo n’io dous áuzelous, né fa què canta pel lous amourous; sès plo bertat cantarè plo lèu pel lo gento mio qu’es olprès de ièu!

On the bridge of Entraygo are two birds that only sing for lovers; if this is true, they will soon sing for the girl that is with me!

Pel lous camps d’Endoun’ io dé gentoï flours; soun blugoï, roujoï, e dé toutos coulours; li cal ana qué n’en culiaráï, o lo ménouno mio lès pourtoráï!

In the fields of Endoun there are fair flowers; they are blue, red, and of all colours; I shall pick them and bring them to my girl!

4. Malurous qu’o uno fenno 3ème série No. 5

Unfortunate he who has a wife

Malurous qu’o uno fenno, Malurous qué n’o cat! Qué n’o cat n’en bou uno, Qué n’o uno n’en bou pas! Tradèra, ladèri dèrèro ladèra, ladèri dèra.

Unfortunate he who has a wife, Unfortunate he who does not! He who has not wants one, He who has one does not Tradèra, ladèri, dèrèro ladèra, ladèri dèra!

Urouzo lo fenno Qu’o l’omé qué li cau! Urouz’ inquèro maito O quèlo qué n’o cat! Tradèra, ladèri dèrèro ladèra, ladèri dèra.

Fortunate the woman Who has the man she wants! More fortunate is she Who has not Tradèra, ladèri, dèrèro ladèra, ladèri dèra!

5. Jou l’pount d’o Mirabel 4ème série No. 1

By the Bridge of Mirabel

Jou l’pount d’o Mirabel Cotorino lobabo. Bengèrou o possa Très cobolhès d’ormado. Jou l’pount d’o Mirabel Cotorino plourabo.

By the bridge of Mirabel Catherine was washing. There passed by Three mounted soldiers. By the bridge of Mirabel Catherine was weeping.

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Song texts and translations continued

6. Tè, l’co, tè 5ème série No. 6

Run, dog, run

Tè, l’co, tè! Arresto lo baco! Atsolo qué s’èn bo! Dió! Dió! Camino, camino, ... pe cayré! Tè! Biro lo roudzo! Tè! Prrr! Es aquo! Dayssolo! Bèni, bèni,bèni, tè!

Run, dog, run! Stop the cow! Don’t you see her straying off? Hey! Hey! Quick, quick! Round up the red one! Prrr! That’s it! Now let her alone! Heel, heel, heel!

7. Uno jionto pastouro 5ème série No.7

A pretty shepherdess

Uno jionto pastouro Un d’oquècé motis, Ossitado su l’erbèto, Plouro soun bel omi!

A pretty shepherdess One morning Sat on the grass, Wept for her lover!

‘Garo, sério bé ouro Qué fougesso tournat! Cáuco pastouro mayto Soun cur auro dounat!

‘This is the time When he ought to be coming home! To some other shepherdess He has given his heart!

‘Ah! pauro pastourèlo! Délayssado soui yèn Coumo lo tourtourèlo Qu’o perdu soun poriou!’

‘Ah! Poor shepherdess! I am deserted here Like the turtledove That has lost her mate!’

Texts and translations reproduced courtesy of Hal Leonard Europe Limited.

12 | London Philharmonic Orchestra

Programme notes continued

Georges Bizet 1838–75

For a young French composer of the mid-19th century, symphonies were not a priority. But if you did want to have a go, you couldn’t have chosen a better model than Charles Gounod’s First Symphony of 1855. Written for a trim Beethoven-sized orchestra, it caused quite a stir. Gounod’s star pupil at the Paris Conservatoire, the 17-year-old Georges Bizet, was impressed. ‘You were the beginning of my life as an artist. I spring from you’, he later told Gounod. For now, he made a piano version of the symphony – and then, in late October 1855, began a symphony of his own, closely modelled on Gounod’s. He completed it a month later, and then apparently never bothered with it again. It was finally premiered only in 1935. The reason why is easy to guess. Bizet probably intended it solely as an exercise, and if you know Gounod’s symphony (and everyone in musical Paris in 1855 did) it would have sounded like an obvious imitation. We’re in a happier position: we probably don’t know Gounod’s symphony, but we do know Carmen, L’Arlésienne and The Pearl Fishers, and we can hear in Bizet’s student symphony all the qualities that make us love them. The joyous, exuberant melodies, the sparkling orchestration, the piquant little twists of harmony and the sunny ebullience of the mature Bizet are all here, pouring out with classical grace and verve. The first Allegro vivo rockets away in textbook sonata form – though only Bizet could have given the second subject that zesty pizzicato colouring. The Adagio drops into A minor, and after sultry chords the oboe sings a long, languid song that seems to breathe Mediterranean air; a balletic little fugue leads to the movement’s surprisingly passionate climax. The scherzo (though Bizet doesn’t call it one) bounds forward like a puppy; its central interlude evokes a folk-song over a rustic drone. And finally: well, try not to think of

Symphony in C 1 Allegro vivo 2 Adagio 3 Allegro vivace 4 Finale: Allegro vivace

Carmen in the bustling moto perpetuo of the finale, even when a brigade of toytown soldiers trips on to a featherweight march. This symphony by a schoolboy is a work which (in the words of Bizet’s biographer Winton Dean) ‘for sheer precocity of genius rivals the juvenilia of Mozart and Mendelssohn’.

Wagner: Die Walküre Sunday 27 January 2019 | 4.00pm Royal Festival Hall Following the success of Das Rheingold in January 2018, Vladimir Jurowski presents the second instalment of our Wagner Ring Cycle. Tickets £15–60. VIP reception packages also available: visit lpo.org.uk/walkure Vladimir Jurowski conductor Stuart Skelton Siegmund | Evgeny Nikitin Wotan* Ruxandra Donose Sieglinde* Stephen Milling Hunding | Claudia Mahnke Fricka Svetlana Sozdateleva Brünnhilde Ursula Hesse von den Steinen Waltraute Sinéad Campbell-Wallace | Alwyn Mellor Gabriela Iştoc | Hanna Hipp | Angela Simkin Rachael Lloyd | Susan Platts London Philharmonic Orchestra * Please note a change of artist from previously advertised. Generously supported by members of the Orchestra’s Ring Cycle Syndicate

London Philharmonic Orchestra | 13

Programme notes continued

George Gershwin

An American in Paris

1898–1937

‘An American in Paris. A Tone Poem for Orchestra. Composed and Orchestrated by George Gershwin.’ The words Gershwin inscribed on the front page of his manuscript are a bold statement for a Broadway composer – a demand to be taken seriously, and a rebuff to the critics who'd mocked Gershwin for being unable to orchestrate his own Rhapsody in Blue (1924). George's proud father Morris summed up the general astonishment – ‘It's a very important piece. It takes 20 minutes to play!’ George was more forthcoming in an interview with Musical America: ‘This new piece, really a rhapsodic ballet, is written very freely and is the most modern music I’ve attempted. The opening part is developed in typical French style, in the manner of Debussy and Les Six, though the themes are all original.’ Gershwin knew his subject. He had introduced his Piano Concerto to Paris in May 1928, and while by night he was toasted by the greats of European music (Kurt Weill, Maurice Ravel and Alban Berg were all fans), by day he’d raced round the city trying to buy taxi horns. He'd already had an idea for an orchestral work inspired by Parisian traffic noise, and five months later it was complete. The premiere took place on 13 December 1928 at Carnegie Hall, with Gershwin’s great champion Walter Damrosch conducting the New York Philharmonic. In the spirit of Richard Strauss, Gershwin provided a detailed synopsis (actually drafted for him by the composer Joseph Deems Taylor). ‘My purpose is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises and absorbs the French atmosphere’, he explained, and our American strolls jauntily around the French capital (you'll hear those taxi horns). He overhears cafe bands and conversations, finds a moment of calm in a park, and flirts with a young

14 | London Philharmonic Orchestra

Parisienne before sinking into a chair in a Left Bank jazz bar. A trumpet plays a smoky blues, and homesickness overcomes him before the tempo picks up, and with it, his mood. In the 1920s, Gershwin was never far from a party – so ‘the orchestra, in a riotous finale decides to make a night of it. It will be great to get home – but meanwhile, this is Paris!’ Programme notes © Richard Bratby

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. Berlioz: Roman Carnival Overture Staatskapelle Dresden | Colin Davis (Philips) Canteloube: Songs of the Auvergne Kiri Te Kanawa | English Chamber Orchestra | Jeffrey Tate (Decca) Bizet: Symphony in C Academy of St Martin in the Fields | Neville Marriner (Decca) or Royal Philharmonic Orchestra | Thomas Beecham (Warner) Gershwin: An American in Paris Harmonie Ensemble/New York | Steven Richman (Harmonia Mundi)

GET

closer

next lpo concerts

AT Southbank Centre’s Royal Festival Hall

saturday 27 october 2018 7.30pm

saturday 3 november 2018 7.o0pm please note start time

Gustavo Gimeno conductor Elizabeth Watts soprano Sara Mingardo contralto Kenneth Tarver tenor Luca Pisaroni bass-baritone London Philharmonic Choir

Vladimir Jurowski conductor Allan Clayton Tom Rakewell Sophia Burgos Anne Trulove* Matthew Rose Nick Shadow London Voices For full cast visit lpo.org.uk

Rossini Petite messe solennelle

Stravinsky The Rake’s Progress

Concert generously supported by Victoria Robey OBE

wednesday 7 november 2018 7.30pm

Klein Partita for Strings Schulhoff Concerto for String Quartet and Wind Orchestra* Martinů Concerto for String Quartet and Orchestra* Janáček Sinfonietta Vladimir Jurowski conductor Borodin Quartet*

* Please note change of artist from previously advertised.

Book now at lpo.org.uk or call 020 7840 4242 Season discounts of up to 30% available

Marking 100 years since the end of World War One

The eternal flame

Saturday 10 November 2018 7.30pm Southbank Centre’s Royal Festival Hall

Debussy Berceuse héroïque Magnus Lindberg Triumph to Exist (world premiere)* Stravinsky Requiem Canticles Janáček The Eternal Gospel

Vladimir Jurowski conductor Andrea Dankova | Angharad Lyddon | Maxim Mikhailov London Philharmonic Orchestra & Choir

* Triumph to Exist is co-commissioned by the London Philharmonic Orchestra and 14-18 NOW: WW1 Centenary Art Commissions (with support from the National Lottery through Arts Council England and the Heritage Lottery Fund, and from the Department for Digital, Culture, Media and Sport), the Gulbenkian Orchestra and the Orchestra National de Lille.

PART OF 14–18 NOW THE UK’S ARTS PROGRAMME FOR THE FIRST WORLD WAR CENTENARY

£9.99 | LPO-0108

£10.99 | LPO-0107

£10.99 | LPO-0106

Recent releases on the LPO Label

r strauss

prokofiev

poulenc

Eine Alpensinfonie Die Frau ohne Schatten

Violin Concerto No. 1 Symphony No. 3 | Chout | Rêves

Piano Concerto Organ Concerto | Stabat Mater

Dance of the Seven Veils

Alexander Lazarev conductor Vadim Repin violin Simon Callow narrator

Yannick Nézet-Séguin conductor Alexandre Tharaud piano James O’Donnell organ Kate Royal soprano London Philharmonic Choir

orchestral excerpts

Vladimir Jurowski conductor

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

16 | London Philharmonic Orchestra

Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

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

London Philharmonic Orchestra | 17

Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle An anonymous donor Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich The Tsukanov Family Dr James Huang Zheng (of Kingdom Music Education Group) Principal Associates Gabor Beyer, through BTO Management Consulting AG In memory of Ann Marguerite Collins Mr & Mrs Makharinsky Associates Steven M. Berzin Kay Bryan William & Alex de Winton George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons David & Yi Buckley John Burgess Richard Buxton In memory of Allner Mavis Channing Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Hamish & Sophie Forsyth Virginia Gabbertas Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Rehmet Kassim-Lakha de Morixe Countess Dominique Loredan Geoff & Meg Mann

Sally Groves & Dennis Marks Robert Markwick & Kasia Robinski Melanie Ryan Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt Silver Patrons Dr Christopher Aldren Peter Blanc Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Will & Kate Hobhouse Matt Isaacs & Penny Jerram John & Angela Kessler The Metherell Family Simon Millward Mikhail Noskov & Vasilina Bindley Susan Wallendahl Guy & Utti Whittaker

Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Jacopo Pessina Mr Roger Phillimore Mr Michael Posen Tatiana Pyatigorskaya Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr Christopher Stewart Mr & Mrs John C Tucker Andrew & Rosemary Tusa Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Christopher Williams Ed & Catherine Williams Mr Anthony Yolland

Bronze Patrons Anonymous donors Michael Allen Andrew Barclay Mr Geoffrey Bateman Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel Mr John L G Deacon David Ellen Ignor & Lyuba Galkin Mrs Irina Gofman David Goldberg Mr Daniel Goldstein David & Jane Gosman Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Catherine Hogel & Ben Mardle J Douglas Home Mr James R. D. Korner Rose & Dudley Leigh

Principal Supporters Ralph & Elizabeth Aldwinckle Margot Astrachan Mr Philip Bathard-Smith Mr Edwin Bisset Dr Anthony Buckland Mr & Mrs Stewart Cohen Sir Alan Collins KCVO David & Liz Conway Mr Alistair Corbett Mrs Alina Davey Guy Davies Henry Davis MBE Mr Richard Fernyhough Patrice & Federica Feron Ms Kerry Gardner Malcolm Herring Ivan Hurry Per Jonsson Mr Ralph Kanza Ms Katerina Kashenceva Vadim & Natalia Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Christopher Little

18 | London Philharmonic Orchestra

Paul & Brigitta Lock Mr Peter Mace Mr John Meloy Andrew T Mills Dr Karen Morton Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Natalie Pray Mr Christopher Querée Martin & Cheryl Southgate Ms Nadia Stasyuk Matthew Stephenson & Roman Aristarkhov Louise Walton Howard & Sheelagh Watson Des & Maggie Whitelock Liz Winter Bill Yoe Supporters Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington 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 Christopher Fraser OBE Will Gold Mr Peter Gray Mrs Maureen HooftGraafland The Jackman Family Mr David MacFarlane Mr Frederic Marguerre Mr Mark Mishon Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw

Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson 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) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (China/Hong Kong) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen)

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Xenia Hanusiak Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners IMG Pictet Bank Steppes Travel White & Case LLP

Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith 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 Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK

John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute Newcomen Collett Foundation The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation The Radcliffe Trust Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

London Philharmonic Orchestra | 19

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron Richard Brass 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 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 Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Manager