London Philharmonic Orchestra 26 Apr 2017 concert programme by London Philharmonic Orchestra

Concert programme lpo.org.uk

Our 2017 concerts are part of

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

Southbank Centre’s Royal Festival Hall Wednesday 26 April 2017 | 7.30pm

Wagner Overture, The Flying Dutchman (11’) Wagner Die Walküre: Wotan’s Farewell and Magic Fire Music (18’) Interval (20’) Bruckner Symphony No. 7 in E major (Nowak edition) (64’)

Marek Janowski conductor Egils Siliņš bass-baritone

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Is Mahler’s Eighth a confession of faith? What was Wagner’s philosophical agenda in Die Walküre and what was Bach to Hindemith and Wagner: embodiment of faith, ‘Germanness’ or both? Stephen Johnson explores how this is expressed musically in our late April concerts.

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 Belief and Beyond Belief 6 About the Orchestra 7 New on the LPO Label: Beethoven 8 Marek Janowski 9 Egils Siliņš 10 Programme notes 12 Text and translation 14 Recommended recordings 15 Next concerts 16 LPO 2017/18 season 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 any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

2 | London Philharmonic Orchestra

Orchestra news

LPO at the 2017 BBC Proms Last week saw the unveiling of the 2017 BBC Proms season, and we’re delighted to announce that the LPO will perform this summer at the Royal Albert Hall on Wednesday 6 September 2017. Vladimir Jurowski will conduct Shostakovich’s Symphony No. 11 and Prokofiev’s Violin Concerto No. 1 with soloist Alina Ibragimova, alongside music by Stravinsky and Britten. Booking for all Proms concerts opens on Saturday 13 May: visit bbc.co.uk/proms or call the Royal Albert Hall Ticket Office on 0845 401 5040.

2017 London Marathon: Support Team LPO! Last Sunday a team from the wider LPO community took part in the Virgin Money London Marathon in aid of the Orchestra’s schools concerts, BrightSparks. All money raised will help to enable over 12,000 young people to attend one of our live schools concerts, many for the very first time. It’s not too late to sponsor our runners! Meet the team and donate here: uk.virginmoneygiving.com/fund/LPOLondonMarathon

World premiere: Ravi Shankar’s Sukanya Next month sees the world premiere and UK tour of Ravi Shankar’s only opera, Sukanya, featuring the London Philharmonic Orchestra. Taken from the legendary Sanskrit texts of the Mahābhārata, the story of Sukanya has been brought to life in this innovative production combining traditional Indian instruments and Western orchestra and singers. It is directed by Curve Associate Director Suba Das and unites dance choreographed by the Aakash Odedra Company, production by The Royal Opera and the musicians of the LPO. The four performances will take place at Leicester’s Curve (world premiere, 12 May), The Lowry, Salford (14 May), Symphony Hall Birmingham (15 May) and London’s Southbank Centre (19 May). lpo.org.uk/sukanya Sukanya is a co-production between The Royal Opera, the London Philharmonic Orchestra and Curve, Leicester. The 19 May performance is a co-production between The Royal Opera, the London Philharmonic Orchestra and Curve, Leicester in association with Southbank Centre. With generous philanthropic support from Arts Council England and the Bagri Foundation.

On stage tonight

First Violins Kevin Lin Guest Leader Ilyoung Chae Chair supported by the Candide Trust

Katalin Varnagy Chair supported by Sonja Drexler

Thomas Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Tina Gruenberg Grace Lee Rebecca Shorrock Caroline Frenkel Jeff Moore Caroline Sharp Alice Cooper Hall John Dickinson Second Violins Helena Smart Guest Principal Jeongmin Kim Chair supported by Friends of the Orchestra

Tania Mazzetti Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Robin Wilson Sioni Williams Harry Kerr Alison Strange Violas Fiona Winning Guest Principal Robert Duncan Katharine Leek

Benedetto Pollani Laura Vallejo Naomi Holt Isabel Pereira Daniel Cornford Stanislav Popov Martin Fenn Martin Wray Richard Cookson Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Santiago Carvalho† Chair co-supported by Molly & David Borthwick

David Lale Elisabeth Wiklander Chair supported by Drs Oliver & Asha Foster

Sue Sutherley Helen Rathbone Philip Taylor Iain Ward Double Basses Sebastian Pennar Principal George Peniston Laurence Lovelle Lowri Morgan Charlotte Kerbegian Samuel Rice Jakub Cywinski Antonia Bakewell Flutes Sue Thomas* Chair supported by Victoria Robey OBE

Stewart McIlwham* Rocco Smith Hannah Grayson Piccolos Stewart McIlwham* Principal Hannah Grayson

Trumpets Paul Beniston* Principal Mark O’Keefe Guest Principal Anne McAneney*

Oboes Ian Hardwick* Principal Alice Munday Jenny Brittlebank

Chair supported by Geoff & Meg Mann

Cor Anglais Sue Böhling* Principal

David Hilton

Chair supported by Dr Barry Grimaldi

Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

Clarinets Christian Stene Guest Principal Thomas Watmough Emily Meredith

David Whitehouse Richard Ward Bass Trombones Lyndon Meredith Principal Patrick Jackman

Bass Clarinet Paul Richards Principal

Contrabass Trombone Lyndon Meredith

E flat Clarinet Thomas Watmough Principal

Tuba Lee Tsarmaklis* Principal

Bassoons Jonathan Davies Principal Gareth Newman Simon Estell*

Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal

Horns David Pyatt* Principal

Chair supported by Andrew Davenport

Chair supported by Sir Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller Jonathan Quaintrell-Evans Stephen Nicholls Meilyr Hughes Wagner Tubas David Pyatt* Martin Hobbs Mark Vines Meilyr Hughes

Henry Baldwin* Co-Principal Keith Millar Harps Rachel Masters Principal Lucy Haslar Emma Ramsdale Anne Denholm Anneke Hodnett Zuzanna Olbryś * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Eric Tomsett • Neil Westreich

London Philharmonic Orchestra | 3

Belief and Beyond Belief An overview of 2017’s year-long festival, by Richard Bratby

Roman Catholic) it seems profoundly strange. But this is what Mozart thought, what he felt: what he believed. And his music speaks to us. There’s something irreducible there. As Theodor Adorno once put it, ‘When I hear great music, I believe that I know that what this music said cannot be untrue.’

n a glass case at Mozart’s birthplace in Salzburg is a little wax doll. Its eyes look demurely downwards, it wears a crown four times the size of its head and it’s clad in what looks like an embroidered ballgown. This is the Loreto-Kindl (Loreto Child): a replica of an ivory model of the infant Christ housed in Salzburg’s Loreto Church. Believed to have miraculous properties, it was (and is) an object of pilgrimage. The Mozart family revered it. When, in Paris in 1764, the eight-year old Wolfgang fell sick, his father Leopold sent money back to Salzburg for a Mass to be said at the shrine of the Child. What are we to think of that today? When we hear the procession that opens Mozart’s Requiem and find our emotions responding to those sighing woodwinds, are we somehow feeling and reacting to the same impulse that once prompted Mozart to kneel before a wax doll? It’s a curious thing, the Loreto Child, and oddly touching. To 21st-century minds (and particularly if you’re not

4 | London Philharmonic Orchestra

Which is why music has a central role – arguably the central role – in Southbank Centre’s year-long 2017 festival Belief and Beyond Belief: a cross-artform investigation of the great questions surrounding our experiences of life, death, religion and spirituality, and the role of religious belief in all its forms in the 21st century. Music, after all, is capable of articulating feelings and ideas that lie beyond words. That gives it a unique scope when dealing with a subject this vast, and this intangible. Belief, says LPO Principal Conductor and Artistic Advisor Vladimir Jurowski, is ‘probably the most all-encompassing theme we could find.’ ‘We were looking for something that would concern all people in all times. And of course you can’t help but come to all those basic questions of life and death: why are we here, what is the purpose of human existence?’ These are questions that – while central to the world’s major religions – are also of urgent importance to those who don’t follow any one specific faith. ‘Spirituality, obviously, is not only about organised religion and faith. It’s about the intangible matters, the non-corporeal realm of human existence’ says Jurowski. ‘As the Dalai Lama put it recently, we can all exist without religion – but we cannot exist without spirituality.’ No question, though: Western classical music’s centuries-old relationship with organised JudeoChristian religion offers a magnificent starting point. Mozart’s Requiem forms part of the series [performed by the London Philharmonic Orchestra and Choir on 25 March], as does Tallis’s Spem in Alium [8 April] and Haydn’s life-affirming oratorio The Creation [4 February] – expressions of belief, grounded in the certainties of a pre-Darwin age. In each of these masterpieces, contemplation of the divine actually intensifies the music’s humanity. Belief certainly enriches the experience of hearing these works today, but few would argue that they have nothing meaningful to say to an atheist or agnostic.

Still, as Jurowski explains, ‘I didn’t want us to limit ourselves to one period of time, one epoch. Working with a modern orchestra is like having a time machine at your disposal. You’re free to move in time and space within the duration of one concert.’ It’ll be thought-provoking but also enormous fun to travel in one evening [28 January] from the divinely ordered exuberance of Jean-Féry Rebel’s Les élémens (1737) to Milhaud’s La Création du monde (1923) and John Adams’s Harmonielehre (1985) – works that don’t so much celebrate an established universal order, as grab what they can find to hand and try to throw together a new one. It’s hard to feel that Also sprach Zarathustra – Richard Strauss’s explicitly post-Christian orchestral romp through Nietzsche [10 February] – sees the death of God as anything but a liberation. Wagner’s Parsifal [28 April; Act III excerpts], however, can be an altogether more troubling experience, as well as a transcendent one. And then there are the works that, in the sunset years of Western civilisation’s spiritual consensus, erect massive ramparts against the abyss. Gustav Mahler – a Jewish convert to Catholicism, and the first great composer to undergo analysis with Sigmund Freud – throws gigantic forces and every last ounce of creative muscle into his Eighth Symphony [8 April]. But what of Bruckner’s Ninth [22 March], designed by an unshakably devout composer as a final act of homage and praise ‘to my beloved God’? As his health failed, Bruckner prayed daily to be allowed time and strength to finish the Symphony. Neither was granted. And during the 20th century, art and belief have both tended to throw open questions rather than assert answers. Confronted with atrocities such as that commemorated in Martinů’s Memorial to Lidice [25 January], the silence that Charles Ives called The Unanswered Question [11 February] may be the only appropriate response. Yet even in atheist dictatorships, composers continued to seek meaning. ‘Shostakovich was never a believer’ says Jurowski. ‘He was afraid of death. He was convinced that with the end of human existence the human spirit also ceases to exist’. Somehow, though, in his fifteenth (and final) symphony [22 February] ‘he finds space in there for very loving music […] You are exposed to someone who has a thing or two to teach us about life.’ Edison Denisov’s Second Symphony [also 22 February], written during its composer’s terminal cancer, is even more

uncompromising. ‘He finds no consolation at the end of his journey. It was obviously an act of defiance.’ In a godless world, the very act of asserting religious belief becomes a radical act. In 1966, Krzysztof Penderecki’s Bach-inspired St Luke Passion [4 March] outraged Western modernists almost as much as it offended the authorities in communist Poland. The composer made its significance explicit: ‘The Passion is the suffering and death of Christ, but it is also the suffering and death at Auschwitz, the tragic experience of mankind in the middle of the 20th century’. Penderecki is as devoutly Roman Catholic as Mozart, but the St Luke Passion is designed for all listeners. Religion helps it tell its truths; but those truths are comprehensible even without belief. It’s why Jurowski chose to open Belief and Beyond Belief not with a sacred work, but a semi-staged opera: a story of tyranny, freedom, courage and – supremely – human love: Beethoven’s Fidelio. ‘Fidelio celebrates what the German-Jewish philosopher Ernst Bloch called “The Principle of Hope” – one of the cornerstones of the human spiritual existence’, says Jurowski. ‘Hope is what makes us human, what gives life meaning; hope – when lived actively – has the power to change the world. Fidelio connects and mediates between the religious and humanist approach to life, and thus appears to me to be a perfect start for a celebration of spirituality and the human spirit.’ If there’s any one motto for this whole, intensely rich and complex journey into music and belief, ‘Hope’ would probably be it. ‘We’re not going to turn Southbank Centre into a place of worship’, says Jurowski. ‘We’re not going to turn the concert hall into a temple. We just want to look at all these different pieces of music by different composers, which are all concerned with the same questions’. In other words, to do what music lets us do more intensely than any other art form – explore different ways of simply being human. Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. Watch the interview with Vladimir and browse the full festival: lpo.org.uk/belief

London Philharmonic Orchestra | 5

London Philharmonic Orchestra

Jurowski and the LPO, keyed up to a high level of concentration, delivered [John Adams’s Harmonielehre] with the shattering force of the Big Bang. Richard Fairman, Financial Times, 31 January 2017

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and 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 currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2016 the LPO joined many of the UK’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400 years

6 | London Philharmonic Orchestra

since his death. In 2017 we collaborate with Southbank Centre on Belief and Beyond Belief: a year-long multiartform festival. Other 2016/17 season highlights include the return of Osmo Vänskä to conduct the Sibelius symphonies alongside major British concertos by Britten, Elgar, Walton and Vaughan Williams; Jurowski’s continuation of his Mahler and Brucker symphony cycles; landmark contemporary works by Steve Reich, Philip Glass, John Adams and Gavin Bryars; and premieres of new works by Aaron Jay Kernis and the Orchestra’s Composer in Residence Magnus Lindberg. 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: 2016/17 has included visits to New York, Germany, Austria, Hungary, Spain, France, Belgium,

The Netherlands and Switzerland; and plans for 2017/18 include Japan, Romania, the Czech Republic, Germany, Belgium, Austria and France. 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 90 releases available on CD and to download: recent additions include Beethoven’s Symphonies Nos. 1 and 4 conducted by Kurt Masur; Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; and Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski (see right). In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

New on the LPO Label: Beethoven’s ‘Eroica’

Beethoven Symphony No. 3 (Eroica) Overture, Fidelio Vladimir Jurowski conductor £9.99 | LPO-0096

‘Jurowski drew on the best of old and new playing styles, pushing the music onwards and concentrating more on texture and harmony than on fleeting details.’ The Guardian concert review, 22 January 2014

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

youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

London Philharmonic Orchestra | 7

Marek Janowski conductor

Janowski’s handling of Wagner’s orchestral transitions is particularly effective ... This is the sound of a Ring for the 21st century.

BBC Music Magazine, July 2016: Wagner Ring Cycle (Pentatone)

In July and August 2016 Marek Janowski conducted Wagner’s Ring Cycle at Bayreuth, and will return in August 2017. This season he also conducts Götterdämmerung at the Spring Festival in Tokyo, the culmination of his four-year concertante-performance Ring Cycle with the NHK Symphony Orchestra. He will also conduct the WDR Köln, Frankfurt Radio Symphony, Dresden Philharmonic, Wiener Staatsoper, Teatro La Fenice, Oslo Philharmonic, St Petersburg Philharmonic and San Francisco Symphony orchestras. Born in Warsaw and educated in Germany, Marek Janowski’s artistic path led him from Assistant positions in Aachen, Cologne, Düsseldorf and Hamburg to his appointments as General Music Director in Freiburg im Breisgau (1973–75) and Dortmund (1975–79). Whilst in Dortmund his reputation grew rapidly and he was invited to conduct at many of Europe’s leading opera houses. There is not one world-renowned opera house where he has not been a regular guest since the late 1970s, from the Metropolitan Opera, New York to the Bayerischer Staatsoper Munich; from Chicago and San Francisco to Hamburg; from Vienna and Berlin to Paris. Marek Janowski stepped back from the opera scene in the 1990s to concentrate on the great German symphonic repertoire. He now enjoys an outstanding reputation amongst the premier orchestras of Europe and North America and is recognised for his ability to create orchestras of international standing.

8 | London Philharmonic Orchestra

Between 1984 and 2000, as Musical Director of the Orchestre Philharmonique de Radio France, Marek Janowski took the Orchestra to a position of preeminence in France, as well as abroad. From 1986–90, in addition to his position in Paris, he held the title of Chief Conductor of the Gürzenich Orchestra in Cologne and from 1997–99 he was also First Guest Conductor of the Deutsche Symphonie-Orchester Berlin. From 2000–05 Janowski served as Music Director of the Orchestre Philharmonique de Monte-Carlo, and from 2001–03 he also held the position of Chief Conductor with the Dresden Philharmonic. Marek Janowski has built a distinguished discography over the past 30 years, including several complete operas and symphonic cycles, many of which have been awarded international prizes. To this day, his recording of Wagner’s complete Ring Cycle with the Staatskapelle Dresden (1980–83) remains one of the most notable and musically interesting recordings that has been made of this work. His Bruckner cycle with the Orchestre de la Suisse Romande, recorded for Pentatone, has also been accorded high praise and of Bruckner’s Symphony No. 3, Jacques Schmitt of Resmusica wrote: ‘After the extraordinary mixed delirium of the first movement, the inspired Marek Janowski presents a second movement full of colour. With a grand, magnificent string section, the German conductor offers music of overwhelming emotion. What intensity, what beauty and what magnificent clarity in the continuity of the musical discourse.’

Egils Siliņš bass-baritone

Siliņš has the charismatic hauteur of a Byronic hero, and his voice and bearing convey tremendous depths of existential defiance and despair. Tim Ashley, The Guardian: The Flying Dutchman (Royal Opera House, 2011)

Egils Siliņš was born in Latvia and graduated from the Latvian Academy of Music. Following his debut at the Latvian National Opera in Boito’s Mefistofele and winning ten international competitions, he made his debut at the Vienna Staatsoper in Bellini’s I puritani. He received huge international acclaim for the title role in Rubinstein’s The Demon at the Bregenz Festival, and made further appearances at prestigious music festivals including Tanglewood, the Savonlinna Opera Festival and Glyndebourne Festival Opera. Egils Siliņš has performed at many of the world’s leading opera houses including the Royal Opera House, Covent Garden; the Teatro alla Scala, Milan; the Metropolitan Opera, New York; the Hamburgische Staatsoper; the Semperoper Dresden; the Deutsche Oper and Staatsoper in Berlin; the Gran Teatro del Liceu, Barcelona; the Teatro Real, Madrid; the Mariinsky Theatre, St Petersburg; the Opernhaus Zürich; the Staatstheater Munich; and the Chicago Opera, among others. His repertoire of more than 70 roles includes the title role in The Flying Dutchman, Wotan (Der Rheingold/ Die Walküre), Wanderer (Siegfried), Amfortas and Klingsor (Parsifal), Telramund (Lohengrin), Kurwenal (Tristan und Isolde), Jochanaan (Salome), Barak (Die Frau ohne Schatten), Orest (Elektra), Rangoni and Boris (Boris Godunov), Grand Prêtre (Samson et Dalila), Méphistophélès (Faust/La damnation de Faust), Sebastiano (Tiefland), Jago (Otello), Scarpia (Tosca) and Germont (La traviata). Egils has worked with the world’s most renowned conductors including Marek Janowski, Christian Thielemann, Philippe Jordan, Christoph von Dohnányi, Zubin Mehta, Ricardo Mutti, Fabio Luisi, Seiji Ozawa,

James Conlon, Nikolaus Harnoncourt, Marcello Viotti, Marc Minkowski, Sir Andrew Davis, the late Sir Colin Davis, Daniele Gatti, Vladimir Fedosseyev, Neeme Järvi, Mariss Jansons, Andris Nelsons, Sebastian Weigle, Kazushi Ono and Gennady Rozhdestvensky, among others. Past seasons’ engagements have included the roles of Wotan and Jochanaan at the Opernhaus Zürich; Dutchman at the Royal Opera House, Teatro Real Madrid, Deutsche Oper Berlin and Semperoper Dresden; Wotan and Sebastiano at the Deutsche Oper Berlin; Amfortas and Klingsor at the Teatro del Liceo Barcelona and Opernhaus Zürich; Prince Igor, again in Zürich; Jochanaan at the Royal Opera House and the Vienna Volksoper; Telramund and Dutchman at the NCPA Beijing and the Chorégies d’Orange festival; and Wotan at the Opéra de Monte-Carlo. Egils Siliņš has recently appeared as Scarpia at the Staatsoper Berlin; Wotan/Wanderer at the Budapest Wagner Festival and Leipzig Opera, and at the Spring Festival in Tokyo under Marek Janowski; Kurwenal at the Deutsche Oper Berlin; Jochanaan at the Ravinia Festival (Chicago); Amfortas at the New National Theatre, Tokyo; Dutchman at Düsseldorf Opera; Escamillo at the Hamburg Opera; Mandryka (Strauss’s Arabella) at Oper Köln; Pizarro at the Vienna Staatsoper; and Jago at Cincinnati Hall under James Conlon. Current and future projects include a return to the Opéra de Paris for Samson et Dalila and Lohengrin under Philippe Jordan; Wanderer at Leipzig and Budapest Opera; Dutchman at the Gran Teatre del Liceu, Barcelona; Jochanaan at ABAO (Bilbao) and the Verbier Festival; and Telramund at the Tokyo Spring Festival.

London Philharmonic Orchestra | 9

Programme notes

Speedread The theme of redemption obsessed Wagner throughout his career. In his opera The Flying Dutchman he retells an ancient folk legend of the accursed sea captain, doomed to search the seas eternally on a ship of ghosts until a pure young woman sacrifices herself for him. The opera’s Overture tells the Dutchman’s story, and depicts the sea’s elemental fury with a brilliance never achieved before in music. But by the time Wagner came to write Die Walküre, 15 years later, both his musical style and his philosophy had moved on. The Valkyrie Brünnhilde defies her father, chief of the gods Wotan, to save the still-unborn hero Siegfried. In doing so she helps bring about the end of the old, corrupt rule of the gods, and opens the door to a possible brighter future for humanity. Her passionate nobility eventually melts the wrathful Wotan’s heart, as we

Richard Wagner

hear in ‘Wotan’s Farewell and Magic Fire Music’, from the end of the opera. It contains some of the most tender, rapturous and atmospheric music Wagner ever composed. Anton Bruckner revered Wagner, and the slow movement of his Seventh Symphony is a deeply felt elegy on the death of his musical idol. But although Bruckner does sometimes sound like Wagner, his musical roots were also in the great song-symphonist Schubert, the keyboard works of Bach and the church compositions of Haydn, Mozart and Palestrina. His music can often seem poised between fervent German romanticism and medieval mysticism. The Seventh is his warmest, most lyrical symphony, beginning with a wonderful theme that came to Bruckner in a dream, and ending in a hymn of pure joy.

Overture, The Flying Dutchman (1841)

1813–83

Portrayals of the sea are comparatively rare in German music – hardly surprising since many German-speaking composers in the 18th and 19th centuries had little or no direct experience of it. The same was true of the young Richard Wagner; but then in 1839 he had to make a hurried exit from the Latvian city of Riga, where he had been working as conductor, with – as so often in his career – a bunch of angry creditors at his heels. After a tense nocturnal diversion through Russia, Wagner, his wife Minna and their Newfoundland dog were secretly put on board a boat for London. But the boat hit a storm and had to make a detour into a Norwegian fjord. Frightening though the experience must have been, Wagner soon saw its artistic potential. 10 | London Philharmonic Orchestra

He’d already been thinking of an opera based on the legendary figure of the accursed mariner, doomed to sail the seas until an act of selfless love would redeem him. The Norwegian fjord and the sea-storm gave him the setting and the atmosphere, both of which are established vividly in the opera’s Overture. Against a stabbing fifth on high wind and shimmering high strings, horns call out the motif associated with the doomed Dutchman, while surging lower string figures evoke the swell of an angry sea. A lull in the storm leads to the ‘Redemption’ theme on winds, introduced by cor anglais, predicting the love of Senta, the young Norwegian woman who will sacrifice herself

to save the Dutchman. Despite such lyrical passages the Overture sustains its momentum right through to its closing bars, where Wagner anticipates the opera’s final ecstatic transformation of the Redemption theme as Senta and the Dutchman rise heavenwards in each other’s arms.

Richard Wagner

Die Walküre: Wotan’s Farewell and Magic Fire Music (1856) Egils Siliņš bass-baritone

The text and translation are overleaf. A different, and rather more sophisticated take on the notion of redeeming love is found in the wonderful final scene of Wagner’s opera Die Walküre, (‘The Valkyrie’) – the second instalment of his epic four-part cycle of operas The Ring of the Nibelung. The Valkyrie of the title is Brünnhilde, one of a troop of half-human, half-divine women who carry the souls of slaughtered heroes to Valhalla, the Norse paradise. Brünnhilde’s father, Wotan, has ordered her to defend the hero Siegmund in his forthcoming battle – and as chief of the gods his order should be absolute. But Wotan’s wife Fricka has faced him down: Siegmund has committed adultery and incest, and as guardian of marriage Fricka insists that he must lose. Defeated, Wotan changes his command, but Brünnhilde defies him and tries to save Siegmund. In this she fails, but she does manage to save Siegmund’s sister Sieglinde, who carries his unborn child. Enraged, Wotan tracks Brünnhilde down, and condemns her to fall into an enchanted sleep, vulnerable to the first man who finds her. But Brünnhilde appeals to Wotan’s better nature. She knew that in his heart Wotan really loved

Siegfried, so she obeyed his heart, not the words of his mouth. Wotan relents. Brünnhilde will be surrounded by a magic fire, which only a hero who knows no fear will be able to penetrate. The section known as ‘Wotan’s Farewell’ begins with the god’s tender parting words to Brünnhilde. By her actions she has proved herself to be truly his daughter. Only a fearless, free hero, ‘freer than I, the god’, will find his way to her resting place. As Wotan sings these words, the brass intone the ‘Siegfried’ motif, confirming the identity of that hero to come. The orchestra rises to an impassioned climax, then Wotan bids his daughter sleep, and soft, mysterious wind and string chords chant her descent into unconsciousness. Wotan gazes tenderly on her sleeping form, then wields his spear (a powerful descending figure on trombones and tuba) and summons the fire god Loge (Loki), after which the orchestra conjures up the dancing flames of the magic fire, and the opera ends.

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

London Philharmonic Orchestra | 11

Text and translation Wagner: Die Walküre (end of Act III) Wotan: Leb’ wohl, du kühnes, herrliches Kind! Du meines Herzens heiligster Stolz! Leb’ wohl! Leb’ wohl! Leb’ wohl!

Farewell, thou valiant, glorious child! Thou once the holiest pride of my heart! Farewell! farewell! farewell!

Muss ich dich meiden, und darf nicht minnig mein Gruss dich mehr grüssen; sollst du nun nicht mehr neben mir reiten, noch Met beim Mahl mir reichen; muss ich verlieren dich, die ich liebe, du lachende Lust meines Auges: ein bräutliches Feuer soll dir nun brennen, wie nie einer Braut es gebrannt! Flammende Glut umglühe den Fels; mit zehrenden Schrecken scheuch’ es den Zagen; der Feige fliehe Brünnhildes Fels! – Denn einer nur freie die Braut, der freier als ich, der Gott!

Must I forsake thee, and may my welcome of love no more greet thee; may’st thou now ne’er more ride as my comrade, nor bear me mead at banquet; must I abandon thee, whom I loved so, thou laughing delight of my eyes? Such a bridal fire for thee shall be kindled as ne’er yet has burned for a bride! Threatening flames shall flare round the fell: let withering terrors daunt the craven! let cowards fly from Brünnhilde’s rock! For one alone winneth the bride; one freer than I, the god!

Der Augen leuchtendes Paar, das oft ich lächelnd gekost, wenn Kampfeslust ein Kuss dir lohnte, wenn kindisch lallend der Helden Lob von holden Lippen dir floss: dieser Augen strahlendes Paar, das oft im Sturm mir geglänzt, wenn Hoffnungssehnen das Herz mir sengte, nach Weltenwonne mein Wunsch verlangte aus wild webendem Bangen: zum letztenmal letz’ es mich heut’ mit des Lebewohles letztem Kuss! Dem glücklichem Manne glänze sein Stern: dem unseligen Ew’gen muss es scheidend sich schliessen. Denn so kehrt der Gott sich dir ab, so küsst er die Gottheit von dir!

Thy brightly glittering eyes, that, smiling, oft I caressed, when valour won a kiss as guerdon, when childish lispings of heroes’ praise from sweetest lips has flowed forth: those gleaming radiant eyes that oft in storms on me shone, when hopeless yearning my heart had wasted, when world’s delights all my wishes wakened, thro’ wild wildering sadness: once more today, lured by their light, my lips shall give them love’s farewell! On mortal more blessed once may they beam: on me, hapless immortal, must they close now forever. For so turns the god now from thee, so kisses thy godhood away!

Loge, hör’! Lausche hieher! Wie zuerst ich dich fand, als feurige Glut, wie dann einst du mir schwandest, als schweifende Lohe; wie ich dich band, bann ich dich heut’! Herauf, wabernde Lohe, umlodre mir feurig den Fels!

Loge, hear! Listen to my word! As I found thee of old, a glimmering flame, as from me thou didst vanish, in wandering fire; as once I stayed thee, stir I thee now! Appear! come, waving fire, and wind thee in flames round the fell!

12 | London Philharmonic Orchestra

Loge! Loge! Hieher!

Loge! Loge! appear!

Wer meines Speeres Spitze fürchtet, durchschreite das Feuer nie!

He who my spearpoint’s sharpness feareth shall cross not the flaming fire!

Music and libretto by Richard Wagner

English translation by Frederick Jameson

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

Anton Bruckner 1824–96

The world premiere of Bruckner’s Seventh Symphony in 1884 was the big turning point in the composer’s career. The previous 16 years had been a hard lesson in patience. In 1868, the 44-year-old Bruckner had left his Upper Austrian homeland for Vienna, full of hope. Instead he experienced rejection and mockery from the Viennese musical establishment. The first performance of the Third Symphony in 1877, by a visibly reluctant Vienna Philharmonic, was a catastrophe. The hall gradually emptied, and Bruckner was then subjected to a hideous mauling in the press. After that, few were disposed to take him seriously. Then, in 1881, the long-delayed premiere of the Fourth under Hans Richter began to turn the tide. Buoyed up by this, Bruckner began work on one of his most grandly affirmative works, the choral-orchestral Te Deum, which he dedicated proudly ‘to God, for having brought me through so much anguish in Vienna’. A few months later, on 23 September, Bruckner began sketching the Seventh Symphony. Apparently its wonderful opening melody came to Bruckner

Symphony No. 7 in E major (1881–83) (Nowak edition) 1 2 3 4

Allegro moderato Adagio: Sehr feierlich und sehr langsam [Very solemn and slow] Scherzo: Sehr schnell [Very fast] – Trio: Etwas langsamer [Somewhat slower] Finale: Bewegt, doch nicht schnell [Lively, but not fast]

in a dream: a friend from Bruckner’s younger days played the theme on a viola, with the words ‘This will bring you success’. If this is true it was prophetic: the premiere of the Seventh Symphony – significantly, not in conservative Vienna, but in the more culturally progressive German city of Leipzig – was one of the greatest successes of Bruckner’s life. One critic wrote, ‘How is it possible that he could remain so long unknown to us?’ It isn’t hard to believe that the long, serenely arching first theme (cellos and violas, with horn at first) could have come straight from the unconscious – a gift of nature. As the theme is repeated on full orchestra the vision intensifies, then fades. A more melancholy second theme (oboe and clarinet) aspires to recover lost glory. Eventually it sounds as though it might succeed, in a long crescendo over a repeated bass note, topped with brass fanfares. But this is suddenly cut off, and a more animated third theme follows: an earthy dance tune (strings in unison, with woodwind and brass support). After this, Bruckner allows us memories of his original

London Philharmonic Orchestra | 13

Programme notes continued

vision; but it is only at the end of the movement that the promise of the opening is fulfilled: the Symphony’s opening motif rises steadily through the orchestra, crescendo, over a long-held major triad. Bruckner may have had the elemental one-chord crescendo that opens Wagner’s Das Rheingold at the back of his mind, but the effect here is quite different – after all this is a culmination, not a beginning. It is said that Bruckner composed the Adagio in the knowledge that his idol Wagner hadn’t long to live. There is an unmistakable note of mourning in the noble first theme, in which Bruckner uses – for the first time – a quartet of so-called ‘Wagner tubas’ (more like deep horns than tubas). Just before the lovely second theme (strings, in 3/4), hushed horn and tubas allude to Wagner’s masterpiece Tristan und Isolde, but unless this is pointed out, you’d hardly notice it: the effect is pure Bruckner. In some performances the Adagio’s climax is crowned by a cymbal clash, with triangle and timpani. (This wasn’t Bruckner’s idea, but a suggestion from two friends.) Either way, it’s a thrilling moment: a revelation of pure light, after which the tubas, joined by horns,

Recommended recordings Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. Wagner: Overture, The Flying Dutchman | Die Walküre Bryn Terfel | Berlin Philharmonic | Claudio Abbado (Deutsche Grammophon) Bruckner: Symphony No. 7 in E major London Philharmonic Orchestra | Klaus Tennstedt (LPO Label LPO-0030) or London Philharmonic Orchestra | Stanisław Skrowaczewski (LPO Label LPO-0071) Browse all LPO Label releases at lpo.org.uk/recordings

sing a magnificent elegy, then the movement concludes in peace. Like many of Bruckner’s earlier scherzos, the Scherzo of the Seventh Symphony reveals its rustic roots at almost every turn. (Bruckner often played in country dancebands in his youth.) There are strong echoes of the Austrian Ländler, country cousin of the sophisticated Viennese waltz. But there is an obsessive, elemental drive here. The central Trio is much gentler, more songful, after which the Scherzo is repeated. Then comes the finale – unusually for Bruckner it’s the lightest (and in most performances, the shortest) of the four movements. Again there are three themes: a dancing, dotted theme (violins); a solemn chorale on violins and violas above a ‘walking’ pizzicato bass; and a jagged version of the first theme for full orchestra in unison. Excitement builds towards the end, until at last Bruckner reveals that the finale’s dancing first theme is simply the Symphony’s serene opening motif in disguise: we have travelled full circle. Programme notes by Stephen Johnson

Das Rheingold: A Golden Gala Evening Saturday 27 January 2018 | 6.00pm Royal Festival Hall Wagner Das Rheingold Vladimir Jurowski conductor plus soloists including Sofia Fomina, Anna Larsson, Matthias Goerne and Matthew Rose

Celebrate Vladimir Jurowski’s 10th year as LPO Principal Conductor by joining us for this Golden Gala Evening at Royal Festival Hall. As well as standard concert tickets, we are offering special packages including pre- and post-concert receptions and the chance to meet the musicians that will bring Wagner’s great music drama to the stage. More details at lpo.org.uk/vj10

14 | London Philharmonic Orchestra

Final LPO concerts this season at Southbank Centre’s Royal Festival Hall 2017/18 season now on sale : more details overleaf and at lpo.org.uk

Friday 28 April 2017 7.30pm

saturday 6 may 2017 7.30pm

Bach (arr. Schoenberg) Prelude & Fugue in E flat major, BWV552 (St Anne) Hindemith Suite, Nobilissima Visione Wagner (arr. Stokowski) Parsifal, Act III (excerpts) R Strauss Four Last Songs

Magnus Lindberg Two Episodes* Beethoven Symphony No. 9 (Choral)†

John Mauceri conductor Angel Blue soprano

Christoph Eschenbach conductor Susanna Hurrell soprano Justina Gringytė mezzo-soprano David Butt Philip tenor Jihoon Kim bass London Philharmonic Choir Please note there will be no interval during this performance. * Commissioned by BBC Radio 3, London Philharmonic Orchestra with the generous support of the Boltini Trust, Helsinki Festival and Casa da Música, Porto. † Generously supported by an anonymous donor.

Book now lpo.org.uk 020 7840 4242

BE M OV E D 2017/18 Concert Season at Southbank Centre’s Royal Festival Hall

HIGHLIGHTS INCLUDE Belief and Beyond Belief – the continuation of our year-long festival with Southbank Centre exploring what it means to be human in the 21st century

Changing Faces: Stravinsky’s Journey – we explore the life and music of Igor Stravinsky as he reacted to the 20th century’s upheavals and innovations

Soloists including Diana Damrau, Daniil Trifonov, Anne-Sophie Mutter, Patricia Kopatchinskaja, Julia Fischer, Leif Ove Andsnes and Gil Shaham

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

A Gala performance of Wagner’s Das Rheingold in celebration of Vladimir Jurowski’s 10th season as Principal Conductor

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

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 Victoria Robey OBE

Eric Tomsett Laurence Watt Michael & Ruth West

Orchestra Circle Natalia Semenova & Dimitri Gourji The Tsukanov Family

Silver Patrons Mrs Molly Borthwick Peter & Fiona Espenhahn Mrs Irina Gofman David Goldstone CBE LLB FRICS Rehmet Kassim-Lakha de Morixe John & Angela Kessler Vadim & Natalia Levin Mrs Elena Lileeva & Dr Adrian Pabst The Metherell Family Mr Brian Smith The Viney Family Guy & Utti Whittaker

Principal Associates An anonymous donor Mr Peter Cullum CBE Alexander & Elena Djaparidze Dr Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Sergey Sarkisov & Rusiko Makhashvili Neil Westreich Associates Oleg & Natalya Pukhov Sir Simon Robey Stuart & Bianca Roden Barry Grimaldi William & Alex de Winton Gold Patrons An anonymous donor Mrs Evzen Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Georgy Djaparidze Sonja Drexler Mrs Gillian Fane Hamish & Sophie Forsyth Drs Oliver & Asha Foster Simon & Meg Freakley David & Victoria Graham Fuller Wim & Jackie Hautekiet-Clare The Jeniffer & Jonathan Harris Charitable Trust Alexandra Jupin & John Bean James R D Korner Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Virginia Slaymaker

Bronze Patrons An anonymous donor Valentina & Dmitry Aksenov Dr Christopher Aldren Michael Allen Mr Jeremy Bull Richard Buxton Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel David Ellen Mrs Marie-Laure Favre-Gilly de Varennes de Bueil Igor & Lyuba Galkin Mr Daniel Goldstein Mr Gavin Graham Mrs Dorothy Hambleton Mr Martin Hattrell Mr Colm Kelleher Rose & Dudley Leigh Drs Frank & Gek Lim Mrs Angela Lynch Peter MacDonald Eggers William & Catherine MacDougall Mr & Mrs David Malpas Mr Adrian Mee Mrs Elizabeth Meshkvicheva Mr & Mrs Andrew Neill Noel Otley JP and Mrs Rachel Davies Mrs Rosemarie Pardington

18 | London Philharmonic Orchestra

Ms Olga Pavlova Mr Michael Posen Mrs Karmen Pretel-Martines Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr & Mrs G Stein Sergei & Elena Sudakova Captain Mark Edward Tennant Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Grenville & Krysia Williams Christopher Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Roger & Clare Barron Mr Geoffrey Bateman Mrs A Beare Mr Charles Bott Mr Graham Brady Mr Gary Brass Mr Richard Brass Mr Frederick Brittenden David & Patricia Buck Dr Anthony Buckland Sir Terry Burns GCB Mr Alan C Butler Mr Pascal Cagni Mrs Alan Carrington Dr Archibald E Carter The Countess June Chichester Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Alfons Cortés Mr David Edwards Ulrike & Benno Engelmann Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Derek B Gray Mr Roger Greenwood Mr Chris Grigg Malcolm Herring Amanda Hill & Daniel Heaf J Douglas Home Ivan Hurry Mr Glenn Hurstfield Mr Peter Jenkins

Per Jonsson Mr Frank Krikhaar Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Nicholas Lyons Mr Peter Mace Robert Markwick & Kasia Robinski Elena Mezentseva Andrew T Mills Randall & Maria Moore Dr Karen Morton Maestro Yannick Nézet-Séguin Pavel & Elena Novoselov Dr Wiebke Pekrull Mr Roger Phillimore Mr James Pickford Andrew & Sarah Poppleton Oleg Pukhov Miss Tatiana Pyatigorskaya Mr Robert Ross Martin & Cheryl Southgate Mr Christopher Stewart Peter Tausig Mr Jonathan Townley Andrew & Roanna Tusa Marina Vaizey Howard & Sheelagh Watson Des & Maggie Whitelock Bill Yoe Supporters Mr Clifford Brown Miss Siobhan Cervin Miss Lynn Chapman Mr Joshua Coger Mr Geoffrey A Collens Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Ms Holly Dunlap Mr Nigel Dyer Ms Susanne Feldthusen Mrs Janet Flynn Mr Nick Garland Dr Geoffrey Guy The Jackman Family

Mrs Svetlana Kashinskaya Niels Kroninger Mr Christopher Langridge Alison Clarke & Leo Pilkington Miss S M Longson Mr David Macfarlane Mr John Meloy Miss Lucyna Mozyrko Mr Leonid Ogarev Mr Stephen Olton Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr James A Reece Mr Olivier Rosenfeld Mr David Russell Mr Kenneth Shaw Mr Kevin Shaw Mr Barry Smith Ms Natalie Spraggon James & Virginia Turnball Michael & Katie Urmston Timothy Walker AM Mr Berent Wallendahl Mr John Weekes Edward & Catherine Williams Mr C D Yates Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE 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: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin

Kristina McPhee David Oxenstierna Natalie Pray Antonia Romeo Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida Corporate Donors Fenchurch Advisory Partners LLP Goldman Sachs Linklaters London Stock Exchange Group Morgan Lewis Phillips Auction House Pictet Bank Corporate Members Gold Sunshine Silver Accenture After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas BTO Management Consulting AG Charles Russell Speechlys Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations Axis Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation The Goldsmiths’ Company Lucille Graham Trust Help Musicians UK Derek Hill Foundation John Horniman’s Children’s Trust The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Michael Tippett Musical Foundation UK Friends of the FelixMendelssohn-BartholdyFoundation

Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

London Philharmonic Orchestra | 19

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Roger Barron Richard Brass David Buckley Desmond Cecil CMG Bruno de Kegel Dr Catherine C. Høgel Rachel Masters* Al MacCuish Julian Metherell George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Victoria Robey OBE Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass David Buckley 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 Martin Höhmann Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Nadya Powell Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager