London Philharmonic Orchestra 25 March 2020 concert programme by London Philharmonic Orchestra

2019/20 concert season at Southbank Centreâ&#x20AC;&#x2122;s Royal Festival Hall

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Concert programme

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

Southbank Centre’s Royal Festival Hall Wednesday 25 March 2020 | 7.30pm

Beethoven Symphony No. 4 in B flat major, Op. 60 (32’) Kaija Saariaho Notes on Light (30’) Interval (20’) Scriabin Symphony No. 4, Op. 54 (The Poem of Ecstasy) (22’)

Omer Meir Wellber conductor Johannes Moser cello

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 2020 Vision at a glance 8 Omer Meir Wellber 9 Johannes Moser 10 Programme notes 13 Recommended recordings 15 LPO 2020/21 season: Now on sale 16 LPO Annual Appeal 2019/20 17 Sound Futures donors 18 Supporters 20 LPO administration

WELCOME Welcome to the 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, Pret, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Spiritland, 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 the Southbank Centre. The 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.

LPO 2020/21 season: on sale now Booking for our 2020/21 season is now open, at lpo.org.uk and via the LPO Ticket Office (020 7840 4242). Pick up a season brochure in the Royal Festival Hall foyer this evening, browse and book online at lpo.org.uk, or call 020 7840 4200 to request a brochure by post.

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

Have you checked out our new LPO playlists? We recently launched a selection of LPO brand playlists, highlighting some of the great works and tracks from our LPO Label. We’ve hand-selected some of our favourite pieces and curated playlists to suit your every mood and bring you closer to the Orchestra. Whether it’s music to focus, to relax or to explore themes like 2020 Vision or Best of Beethoven, we’ve got the perfect soundtrack. Visit lpo.org.uk/playlists or search for ‘LPO’ on Spotify or Idagio.

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

ON STAGE TONIGHT First Violins Pieter Schoeman Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Chair supported by The Candide Trust

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

Minn Majoe Katalin Varnagy Chair supported by Sonja Drexler

Robert Pool Tina Gruenberg Amanda Smith Georgina Leo Morane Cohen-Lamberger Rebecca Shorrock Nilufar Alimaksumova Eleanor Bartlett Katherine Waller Alice Hall Miranda Allen Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Helena Smart Kate Birchall Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Clarice Curradi Helena Nicholls Emma Purslow Alison Strange Caroline Sharp Nicole Stokes Lyrit Milgram Anna Croad Violas Rachel Roberts Guest Principal Robert Duncan Ting-Ru Lai Susanne Martens Chair supported by Gill & Garf Collins

Benedetto Pollani Laura Vallejo

Naomi Holt Stanislav Popov Daniel Cornford Martin Wray David Quiggle Richard Cookson

Cor Anglais Sue Bรถhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets Thomas Watmough Principal

Cellos Pei-Jee Ng Principal Francis Bucknall Laura Donoghue Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Helen Rathbone George Hoult Sibylle Hentschel Iain Ward

Chair supported by Roger Greenwood

Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Tom Walley Laura Murphy Charlotte Kerbegian Lowri Morgan

Contrabassoon Simon Estell* Principal

Flutes Juliette Bausor Principal Hannah Grayson Imogen Royce Stewart McIlwham* Piccolos Stewart McIlwham* Principal Hannah Grayson Alto Flute Stewart McIlwham* Oboes Ian Hardwick* Principal Alice Munday Amy Roberts

Tuba Lee Tsarmaklis* Principal

James Maltby Elliot Gresty Bass Clarinet Paul Richards* Principal Bassoons Jonathan Davies Principal

Timpani Simon Carrington* Principal Chair supported by Victoria Robey OBE

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal Keith Millar Jeremy Cornes Feargus Brennan James Larter

Chair supported by Sir Simon Robey

Gareth Newman Emma Harding

Horns John Ryan* Principal Nicholas Mooney Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller Lindsay Kempley Jonathan Lipton Trumpets James Fountain* Principal Kate Moore Guest Principal David Hilton Ryan Linham Gwyn Owen Paul Bosworth Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse Bass Trombone Lyndon Meredith Principal

Harps Rachel Masters Principal Lucy Haslar Organ/Piano Catherine Edwards Celeste Philip Moore * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Chiltern Friends of the LPO Donors to the 2019 Gala Player Appeal Friends of the Orchestra Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Eric Tomsett

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LONDON PHILHARMONIC ORCHESTRA

The LPO all-Russian Prom was one of the rarest programmes of the season, sumptuously persuasive about Glazunov’s theme-park Fifth (has the orchestra ever sounded more top-league?) The Arts Desk: ‘Best of 2019’ (BBC Proms 2019: Vladimir Jurowski conducts Rimsky-Korsakov, Rachmaninoff & Glazunov)

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. The Orchestra is resident at the Southbank Centre’s Royal Festival Hall in London, where it gives around

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40 concerts each season. This year’s focus is our 2020 Vision series, which features some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier. Outside London, the Orchestra has flourishing residencies in Brighton, Eastbourne and at Saffron Hall in Essex, 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 recent seasons have included 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. 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, Mozart chamber works with LPO Principal players, and Ravi Shankar’s only opera, Sukanya.

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 the 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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in collaboration with

Tonight’s concert is part of our year-long 2020 Vision series, exploring the journey of music with pioneering works that have defined the sound of the 21st century, alongside music written exactly 100 and 200 years before.

NEW CENTURY, NEW SOUNDS

SATURDAY 8 FEBRUARY 2020

Beethoven Symphony No. 1 Eötvös Snatches of a Conversation Scriabin Symphony No. 2 Vladimir Jurowski conductor Marco Blaauw trumpet Omar Ebrahim speaker Generously supported by Cockayne Grants for the Arts and The London Community Foundation.

2002

THREE ADVENTURES

WEDNESDAY 19 FEBRUARY 2020

Beethoven Symphony No. 2 Knussen Violin Concerto Sibelius Symphony No. 2 Vasily Petrenko conductor Daniel Pioro violin Generously supported by Victoria Robey OBE.

2003

FANTASY AND REVOLUTION

SATURDAY 22 FEBRUARY 2020

Jörg Widmann Lied for Orchestra Ravel Shéhérazade Beethoven Symphony No. 3 (Eroica) Dima Slobodeniouk conductor Christine Rice mezzo-soprano 6 | London Philharmonic Orchestra

BEETHOVEN’S FIFTH SATURDAY 28 MARCH 2020

Sibelius Symphony No. 3 Dutilleux Le temps l’horloge Beethoven Symphony No. 5

lpo.org.uk/2020vision

2001

2007

2004

NEW VISIONS

WEDNESDAY 26 FEBRUARY 2020

Elgar In the South Spohr Violin Concerto No. 2 Webern Im Sommerwind Rautavaara Book of Visions Osmo Vänskä conductor Sergej Krylov violin

2005

POETRY & BELIEF FRIDAY 28 FEBRUARY 2020

Beethoven Piano Concerto No. 4 Krzysztof Penderecki Chaconne in memory of John Paul II Enescu Symphony No. 1 Osmo Vänskä conductor Jeremy Denk piano Generously supported by the Adam Mickiewicz Institute and the Romanian Cultural Institute.

2006

THE NEW BACCHUS

WEDNESDAY 25 MARCH 2020

Beethoven Symphony No. 4 Kaija Saariaho Notes on Light Scriabin Symphony No. 4 (The Poem of Ecstasy) Omer Meir Wellber conductor Johannes Moser cello

Edward Gardner conductor Sally Matthews soprano Generously supported by Mrs Aline Foriel-Destezet.

2008

LANDSCAPE AND MEMORY

WEDNESDAY 1 APRIL 2020

Ives The Unanswered Question Thomas Adès In Seven Days Beethoven Symphony No. 6 (Pastoral) Vladimir Jurowski conductor Nicolas Hodges piano

2009

THE EVEREST OF PIANO CONCERTOS WEDNESDAY 8 APRIL 2020

Méhul Symphony No. 1 Ryan Wigglesworth Augenlieder* Rachmaninoff Piano Concerto No. 3 Vladimir Jurowski conductor Sophie Bevan soprano Nikolai Lugansky piano *Supported by Resonate. Resonate is a PRS Foundation initiative in partnership with the Association of British Orchestras, BBC Radio 3 and Boltini Trust.

2010

2014

WEDNESDAY 22 APRIL 2020

WEDNESDAY 21 OCTOBER 2020

CROSSING CULTURES

A PADMORE CYCLE

John Corigliano Stomp Philip Glass Double Concerto for violin and cello Shankar Symphony

Schubert Symphony No. 2 Thomas Larcher A Padmore Cycle Nielsen Symphony No. 4 (The Inextinguishable)

Karen Kamensek conductor Daniel Hope violin Alban Gerhardt cello Anoushka Shankar sitar

Thierry Fischer conductor Mark Padmore tenor

Generously supported by Cockayne Grants for the Arts and The London Community Foundation.

2011

STORMING THE HEAVENS

WEDNESDAY 30 SEPTEMBER 2020

Julian Anderson The Discovery of Heaven Nielsen Violin Concerto Beethoven Symphony No. 7 John Storgårds conductor Simone Lamsma violin

2012

ABSOLUTE JEST

SATURDAY 3 OCTOBER 2020

John Adams Absolute Jest Bartók Four Orchestral Pieces Beethoven Symphony No. 8 Karina Canellakis conductor Heath Quartet

2013

RITES OF RENEWAL

WEDNESDAY 7 OCTOBER 2020

Schubert Symphony No. 1 Magnus Lindberg Cello Concerto No. 2 (UK premiere) Stravinsky The Rite of Spring Jukka-Pekka Saraste conductor Anssi Karttunen cello

2015

THE MIDNIGHT SUN

WEDNESDAY 11 NOVEMBER 2020

Schubert Symphony No. 3 Krzysztof Penderecki Concertino for Trumpet and Orchestra Lotta Wennäkoski Verdigris (London premiere) Sibelius Symphony No. 5 Hannu Lintu conductor Gábor Boldoczki trumpet

2016

SONG OF THE NIGHT

WEDNESDAY 25 NOVEMBER 2020

Prokofiev Symphony No. 1 (Classical) Schubert Symphony No. 5 Magnus Lindberg Two Episodes Szymanowski Symphony No. 3 (The Song of the Night) Thomas Søndergård conductor Michael Weinius tenor London Philharmonic Choir

2017

GAVRYLYUK PLAYS PROKOFIEV

SATURDAY 28 NOVEMBER 2020

Ravel Le tombeau de Couperin Schubert Symphony No. 6 Anna Thorvaldsdottir Metacosmos Prokofiev Piano Concerto No. 3 Thomas Søndergård conductor Alexander Gavrylyuk piano

2018

JUROWSKI CONDUCTS ENESCU

WEDNESDAY 2 DECEMBER 2020

J S Bach Orchestral Suite No. 1 Elena Kats-Chernin Piano Concerto No. 3 (European premiere) Enescu Symphony No. 3* Vladimir Jurowski conductor Tamara-Anna Cislowska piano London Philharmonic Choir Trinity Boys Choir *Generously supported by the Romanian Cultural Institute.

2019

ALL THE WORLD’S A STAGE

SATURDAY 5 DECEMBER 2020

J S Bach Brandenburg Concerto No. 5 Brett Dean The Players, for accordion and orchestra (UK premiere) Stravinsky Pulcinella (complete) Vladimir Jurowski conductor Pieter Schoeman violin Juliette Bausor flute Catherine Edwards harpsichord James Crabb accordion Angharad Lyddon soprano Sam Furness tenor David Soar bass Generously supported by Cockayne Grants for the Arts and The London Community Foundation.

2020

CHRISTMAS ORATORIO

SATURDAY 12 DECEMBER 2020

James MacMillan Christmas Oratorio (world premiere) Vladimir Jurowski conductor Mary Bevan soprano Christopher Maltman baritone London Philharmonic Choir Commissioned by the London Philharmonic Orchestra, NTR Zaterdag Matinee, Melbourne Symphony Orchestra and the New York Philharmonic Orchestra.

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OMER MEIR WELLBER conductor

The undoubted glory of the evening was the orchestral playing by the LPO under Omer Meir Wellber ... he gave the emotional, romantic moments enough room to breathe, shaped the tragic phrases with due gravity yet not too much portentousness, and obtained playing of real class from the orchestra.’ MusicOMH.com, May 2018 (Madam Butterfly at Glyndebourne Festival Opera)

Omer Meir Wellber has established himself as one of today’s leading conductors of operatic and orchestral repertoire alike. He has been Principal Guest Conductor at the Semperoper Dresden since September 2018, Chief Conductor of the BBC Philharmonic since July 2019, and Music Director of the Teatro Massimo in Palermo since January 2020. He has conducted some of the world’s most prestigious ensembles including the London Philharmonic Orchestra, Gewandhausorchester Leipzig, Pittsburgh Symphony Orchestra, Swedish Radio Symphony Orchestra, Orchestre National de Lyon, City of Birmingham Symphony Orchestra, Staatskapelle Dresden, NDR Elbphilharmonie Orchestra, RAI Torino, SWR Symphonieorchester, WDR Sinfonieorchester and Tonhalle Orchestra Zurich, and is a regular guest conductor at the Bavarian State Opera in Munich. He is also a published author and maintains an active role in his native Israel, collaborating with ensembles in the region and promoting music integration projects. During the 2018 Glyndebourne Festival Omer Meir Wellber conducted the London Philharmonic Orchestra in highly-acclaimed performances of Puccini’s Madama Butterfly, and in 2014, Tchaikovsky’s Eugene Onegin. His most recent Royal Festival Hall appearance with the Orchestra was in April 2015, when he conducted Debussy’s Prélude à l’après-midi d’un faune, Lalo’s Symphonie espagnole and Brahms’s Symphony No. 1. In the 2019/20 season Omer Meir Wellber will appear as guest conductor with several ensembles including the Netherlands Radio Philharmonic Orchestra in Utrecht, Amsterdam and Antwerp, the RundfunkSinfonieorchester Berlin, the Swedish Radio Symphony Orchestra and the Munich Philharmonic, as well as at the Dresden Music Festival with the BBC Philharmonic.

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Omer Meir Wellber served as Music Director at the Palau de les Arts Reina Sofia in Valencia from 2010–14, leading both orchestral and operatic performances including Eugene Onegin, which was published on DVD. He conducted Verdi’s operatic trifecta – Rigoletto, La traviata and Il trovatore – at the Vienna Festival in 2011, 2012 and 2013 respectively. From 2008–10 he assisted Daniel Barenboim at the Staatsoper Unter den Linden in Berlin and at Milan’s Teatro alla Scala, directing the Scala in a critically-hailed performance of Verdi’s Aida at the Israeli Opera. Despite Omer Meir Wellber’s demanding schedule of international engagements, he maintains a deeprooted commitment to ensembles in his native Israel, and considers music to be a tool for social change in the country. Since 2009 he has been Music Director of the Raanana Symphonette Orchestra, which dedicates itself to music education projects in particular, reaching more than 70,000 children each year. The conductor is also a Good Will Ambassador for Save a Child’s Heart, an Israeli-based non-profit organisation that provides critical cardiac medical support (see page 14). Born in Be’er Sheva in 1981, Omer Meir Wellber began studying accordion and piano at the age of five. He took composition lessons with Tania Taler from the age of nine, before continuing under Michael Wolpe until 2004. He graduated from the Be’er Sheva Conservatory in 1999 and received a music scholarship from the America-Israel Cultural Foundation, which he used to study conducting and composition at the Jerusalem Music Academy from 2000–08 with Eugene Zirlin and Mendi Rodan.

JOHANNES MOSER cello

One of the finest among the astonishing gallery of young virtuoso cellists.

Gramophone

German-Canadian cellist Johannes Moser has performed with the world’s leading orchestras such as the Berlin Philharmonic, New York Philharmonic, Los Angeles Philharmonic, Chicago Symphony, BBC Philharmonic, London Symphony, Bavarian Radio Symphony, Royal Concertgebouw, TonhalleOrchestra Zurich, Tokyo NHK Symphony, Philadelphia and Cleveland orchestras, and has collaborated with conductors of the highest level including Riccardo Muti, Lorin Maazel, Mariss Jansons, Valery Gergiev, Zubin Mehta, Vladimir Jurowski, Franz Welser-Möst, Christian Thielemann, Pierre Boulez, Paavo Jarvi, Semyon Bychkov, Yannick Nézet-Séguin and Gustavo Dudamel. His recordings include concertos by Dvořák, Lalo, Elgar, Lutosławski, Dutilleux and Tchaikovsky, and have gained him the prestigious German Radio Critics’ Prize and the Diapason d’Or. His latest release, in August 2019, featured works by Felix and Fanny Mendelssohn with pianist Alasdair Beatson. Highlights of the 2019/20 season include two world premieres of cello concertos: by Andrew Norman, with the Los Angeles Philharmonic under Gustavo Dudamel; and by Bernd Richard Deutsch, with the TonkünstlerOrchester Niederösterreich under Yutaka Sado. These will be performed at the Vienna Musikverein, the Grafenegg Festival, the Festspielhaus St. Pölten and with the Frankfurt Radio Symphony Orchestra. Johannes will also return to the BBC Philharmonic, BBC Scottish Symphony and Boston Symphony orchestras, as well as to the George Enescu Festival with the Oslo Philharmonic. He performed at the season opening concerts of both the Ulster Orchestra (Elgar’s Cello Concerto conducted by Daniele Rustioni) and the Orquesta Sinfónica de Galicia (Saint-Saëns’s Cello Concerto conducted by Dima Slobodeniouk).

European tours this season include with the Symfonieorkest Vlaanderen, the Württembergische Kammerorchester Heilbronn and Metamorphosen Berlin. Renowned for his efforts to expand the reach of the classical genre, as well as his passionate focus on new music, Johannes has recently been heavily involved in commissioning works by Julia Wolfe, Ellen Reid, Thomas Agerfeldt Olesen, Johannes Kalitzke, Elena Firsova and Andrew Norman. In 2011 he premiered Magnetar for electric cello by Enrico Chapela with the Los Angeles Philharmonic conducted by Gustavo Dudamel, and the following season he continued this relationship with the orchestra, performing Michel van der Aa’s cello concerto Up-close. Throughout his career Johannes has been committed to reaching out to all audiences, from kindergarten to college and beyond. He combines most of his concert engagements with masterclasses, school visits and pre-concert lectures. Born into a musical family in 1979, Johannes began studying the cello at the age of eight and became a student of Professor David Geringas in 1997. He was the top prize-winner at the 2002 Tchaikovsky Competition, in addition to being awarded the Special Prize for his interpretation of the Rococo Variations. In 2014 he was awarded the prestigious Brahms Prize. A voracious reader of everything from Kafka to Collins, and an avid outdoorsman, Johannes Moser is a keen hiker and mountain-biker in what little spare time he has. He plays on an Andrea Guarneri cello from 1694 from a private collection.

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PROGRAMME NOTES 2006: THE NEW BACCHUS Hindsight is a fine thing. Looking back from our privileged 21st-century vantage point, the shift from Classicism, through Romanticism to the bold, splintered landscape of the 20th and 21st centuries, seems inevitable. The slow, inexorable erosion of tonality, the expansion of the orchestra, the quest for new textures, colours, forms and ideas, the rejection and reappraisal of accepted structures and traditions — an unstoppable line of progress and modernisation. But what would Beethoven have thought, as he composed his Fourth Symphony in 1806, had he known that a century later a Russian composer called Alexander Scriabin would write his own fourth symphony dedicated to something

1806

When Beethoven began work on his Fourth Symphony in the summer of 1806, he might well have wondered, as the Viennese public did, what next? After the astonishing dynamism of the ‘Eroica’, with its unprecedented length and heroic ‘new manner’, he appeared to have set in train a new era in the symphonic tradition. Balance, poise and grace had all been superseded by grandeur, surprise and defiance, the last vestiges of Classicism apparently now buried along with any traces of the 18th century. His next symphony, his Fourth, would surely continue this line of expansion and development. Had Beethoven not decided to spend that summer in the company of Prince Carl von Lichnowsky, things might well have been different. Beethoven had already begun work on a new symphony – the work

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as abstract as the subject of ecstasy? That this so-called ‘symphony’ would employ a new kind of mystical tonality, reject traditional notions of pulse and even melody, and that in place of thematicism, orchestral colour would become its raison d’etre? Had he but known that a century further still, a Finnish composer called Kaija Saariaho would transform the concerto into a luminous soundscape in which light itself could be rendered in music. Beethoven might not have been able to anticipate this irrepressible modernisation, but across the centuries these three composers’ works are united by ambition and intent, grasping at a new musical future just beyond the horizon.

Ludwig van Beethoven (1770–1827) Symphony No. 4 in B flat major, Op. 60 1 Adagio – Allegro vivace 2 Adagio 3 Allegro vivace 4 Allegro ma non troppo

which we now know as his Fifth – when he accepted the Prince’s invitation, but he broke off work on that score to compose a new symphony for Count Franz von Oppersdorff, a relative of the Prince and a longtime admirer of Beethoven’s music. When Beethoven and Oppersdorff were treated to a performance of his Second Symphony at the Prince’s country estate, Beethoven appears to have taken his cue for Oppersdorff’s new commission: this would not be a symphony of vehemence and heroism, but a return to more modest, even Classical, proportions. As Robert Schumann would later call it, the Fourth is ‘a slender Greek maiden between two Norse Gods’. When it gets going, there is little doubt that the Fourth has more in common with the effervescence of the Second than it does with the bombast of the Third,

its lightness shared with the other works Beethoven completed that same summer – the Violin Concerto and the Fourth Piano Concerto. But in symphonic terms the Fourth is still far from straightforward. Most surprising of all is its mysterious, almost torturous introduction, which opens in the ‘wrong key’ of B flat minor. It takes almost three minutes before Beethoven finds his feet and, emerging from the gloom with a start, announces the opening of the Allegro proper with an earth-shattering timpani roll and series of sforzando chords. This is to be a work of dynamic extremes. Even the tender Adagio that follows is not immune to the sense of unrest, the persistent accompaniment always threatening to throw the delicate lyricism of the central theme off course – at the movement’s centre, as the key

2006 Kaija Saariaho has been fascinated by invented sounds since her childhood. A ‘sensitive’ child, she remembers hearing music in her head as she lay in bed at night. ‘I imagined that it came from my pillow’, she recalls. ‘My mother remembered me asking her to turn the pillow off at night when I couldn’t sleep; to turn off the music that I imagined inside my head.’ This dreamlike relationship with music has influenced her work ever since, resulting in vivid, luminous soundscapes that are somehow both deeply personal and tantalisingly abstract, which seem to grasp at an existential realm that is just beyond reach. So it is with her cello concerto, Notes on Light, which she composed for Anssi Karttunen in 2006. It is, says Karttunen, ‘a rich voyage that could well lead us into the very heart of light’, a viscous, translucent work that plays with the idea of shapes and shadows. From the

darkens and the trumpets and drums re-enter, it almost does. A spirited scherzo follows, its bucolic theme again almost overshadowed by a lurking sense of unease, but Beethoven’s real surprise here is to double the traditional tripartite design to bring the opening theme back not once but twice – and, at the last moment, to shatter the recapitulation with a surprise blast from the horns. Beethoven, it seems, cannot resist the element of surprise. Even in the light-hearted finale, one of the most joyful in his symphonic output, Beethoven repeatedly wrong-foots the listener with a stormy interjection that temporarily stops this perpetuum mobile movement in its tracks, as though a theatrical villain were waiting in the wings, ready at any moment to sabotage the drama.

Kaija Saariaho (born 1952) Notes on Light Johannes Moser cello 1 Translucent, secret 2 On fire 3 Awakening 4 Eclipse 5 Heart of Light

wild, unconstrained dance of the flames in the second movement, through the rich, warm glow of dawn in the third, to the sudden and startling absence of light in the fourth, Notes on Light marries orchestral colours and textures with prisms of light and dark. In many ways it is not a concerto in the traditional sense of the word. Listeners looking for flamboyant displays of lyrical virtuosity are likely to be disappointed. Instead, the soloist darts in and out of the wide orchestral texture, often dipping below the surface, and at times — as in the fourth movement — even submitting to the orchestra altogether. But, as Karttunen explains, the attentive listener can find many of the hallmarks of the concerto style if they listen closely enough. ‘When the soloist has important things to say, the orchestra gives Continued overleaf

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PROGRAMME NOTES CONTINUED it space and on the other hand the orchestra also gets its moments to lift the music up into exuberant colours.’ And this is precisely how the work draws to its close, with soloist and orchestra embarking on an ethereal journey together, ‘high up to the spheres of absolute brightness … or total darkness.’

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

COMPOSER PROFILE: KAIJA SAARIAHO Kaija Saariaho, born 1952 in Helsinki, is a prominent member of a group of Finnish composers and performers who are now, in midcareer, making a worldwide impact. She studied composition in Helsinki, Freiburg and Paris, where she has lived since 1982. Her studies and research at IRCAM have had a major influence on her music and her characteristically luxuriant and mysterious textures are often created by combining live music and electronics. Although much of her catalogue comprises chamber works, from the mid-1990s she has turned increasingly to larger forces and broader structures, such as the operas L’Amour de Loin and Adriana Mater and the oratorio La Passion de Simone. Saariaho has claimed the major composing awards including the Grawemeyer Award, the Wihuri Prize, the Nemmers Prize, the Sonning Prize and the Polar

12 | London Philharmonic Orchestra

Music Prize. In 2018 she was recognized with the BBVA Foundation’s Frontiers of Knowledge Award. In 2015 Saariaho was the judge of the Toru Takemitsu Composition Award. Always keen on strong educational programmes, she was the music mentor of the 2014/15 Rolex Mentor and Protégé Arts Initiative, and was in residence at the University of California Berkeley Music Department in 2015. Saariaho continues to collaborate for the stage. Only The Sound Remains, her most recent opera collaboration with Peter Sellars, opened in Holland in 2016. In the same year her first opera, L’Amour de Loin, was presented in its New York premiere by the Metropolitan Opera in a new production by Robert Le Page. The Park Avenue Armory and New York Philharmonic presented a celebration of her orchestral music with visual accompaniment in October 2016. February 2017 saw Paris come alive with her work when she was featured composer for the Festival Presences. She is currently composing a new opera, to receive its premiere later this year. Reprinted by kind permission of Wise Music Classical.

1906

The music of Alexander Scriabin embodies the extraordinary transformation of fin-de-siècle culture. The Scriabin of the early 1890s, his music bathed in the sweeping richness of late-Romanticism, is a far cry from the ‘mystical’ Scriabin of his later years, where texture and colour take precedence over traditional structural landmarks. In his early works we hear the influence of Chopin, Liszt and even Tchaikovsky. But by the early years of the 20th century his music combines flickers of hazy Debussian impressionism, with the bright, bare shards of Stravinsky’s most unforgiving orchestral scores. It is music that is at once both sensual and coarse, governed by a mystical personal agenda that saw him write words as copiously as he did music, much of it tethered to the idea of embracing a greater cosmic world fuelled by ‘oceans of love’. In the case of The Poem of Ecstasy, Scriabin saw fit to publish a grand ten-page poem alongside the score, which follows the path of the spirit as it ascends into a state of consciousness, ending with the lines ‘I am a moment illuminating eternity. I am affirmation. I am ecstasy.’ These vast philosophical ideas would form the basis of his single-movement symphonic poem, their scope too grand and expansive to be confined by the traditional multi-movement form of the symphony. Paradoxically, however, Scriabin’s far-reaching ideas are contrasted in the score by the fragmented pieces that make up his musical material. This is a kaleidoscopic design, one created from hundreds of intricate, pointillist details that together form a wide, glittering canvas. As the poem opens, we hear the beginnings of a pregnant flute theme, its languorous contours winding above shimmering strings in near direct homage to Debussy’s Prélude à l’après-midi d’un faune. But where Debussy’s score ebbs and flows in clear pictorial evocation, Scriabin’s flute theme ends

Alexander Scriabin (1871–1915) Symphony No. 4, Op. 54 (The Poem of Ecstasy)

as quickly as it began, the mantle passed first to the violin, then piccolo, then trumpet, then clarinet ... Each melodic fragment cascades into the next, any tangible sense of melody, pulse or tonal centre obscured by the perpetual changes in colour and texture. When the tone changes abruptly, the strings and winds dance around each other with a scurrying energy reminiscent of Ravel’s Daphnis et Chloé, but this idea, too, disappears no sooner than it has arrived and Scriabin swings back to the deep swathes of strings that characterised the opening. If it is not immediately evident, Scriabin’s score eventually reveals itself as teleological, with these two competing ideas – stillness and drive, languour and liberation – becoming emblems of the process that is the emerging of consciousness. As the work progresses, a sense of drive and insistence takes over, the fragments increasingly cohesive, the rhythms energised, dynamics boldened, harmonies deepened. And the trumpet, which at the beginning voiced just a flicker of an idea, eventually proclaims ‘victory’ (as Scriabin called it): consciousness obtained, ecstasy found. Programme notes © Jo Kirkbride

Recommended recordings by Laurie Watt Beethoven: Symphony No. 4 London Philharmonic Orchestra | Kurt Masur (LPO Label LPO-0093) Kaija Saariaho: Notes on Light Anssi Karttunen | Orchestre de Paris Christoph Eschenbach (Ondine) Scriabin: Symphony No. 4 (The Poem of Ecstasy) USSR Symphony Orchestra | Evgeny Svetlanov (Alto)

London Philharmonic Orchestra | 13

"For me the best music in the world is the beat of the heart of someone you love. Save A Child’s Heart endeavours to heal a person’s most precious instrument, regardless of who they are, or where they come from. I feel a kinship with this very special organisation and support its inspirational mission."

Omer Meir Wellber is Good Will Ambassador for the Israeli-based international humanitarian organisation, Save a Child’s Heart, which provides lifesaving cardiac surgery and treatment for children from developing countries and a training programme for doctors and nurses from those countries. A big heart can help to save a little one - through a life-saving donation:

www.saveachildsheart.org

CLASSICAL MUSIC FOR MODERN LIFE

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ANGELLICA BELL 7AM-10AM SATURDAYS

MARK KERMODE 1PM-3PM SATURDAYS

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SKY

SMART SPEAKER

Now on sale: 2020/21 season

at the Southbank Centre’s Royal Festival Hall 2020 Vision continues

Exploring the defining sounds of the 21st century alongside music written exactly 100 and 200 years earlier. The series culminates with the world premiere of James MacMillan’s Christmas Oratorio.

Ring Cycle 2021

Vladimir Jurowski conducts two star-studded, semi-staged Ring Cycles featuring Allan Clayton, Ruxandra Donose, Burkhard Fritz, Lise Lindstrom, Kai Rüütel and more.

Celebrated artists

Including Karina Canellakis, Ray Chen, Gerald Finley, Edward Gardner, Stephen Hough, Steven Isserlis, Anoushka Shankar & Bryn Terfel.

lpo.org.uk

COME BEHIND THE SCENES

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

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

135

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

7500

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

560

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

234

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

3440

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

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

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

4x2

4 TONNES

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

SUPPORT THE UNSEEN WORK OF THE ORCHESTRA

LPO.ORG.UK/DONATE

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

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 CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

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

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

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

18 | London Philharmonic Orchestra

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

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

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

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

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

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

London Philharmonic Orchestra | 19

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

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

Development Laura Willis Development Director