London Philharmonic Orchestra 26 February 2016 concert programme by London Philharmonic Orchestra

A festival of concerts, talks and exploratory events celebrating the musical legacy of the worldâ&#x20AC;&#x2122;s greatest playwright

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

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

JTi Friday Series Southbank Centre’s Royal Festival Hall Friday 26 February 2016 | 7.30pm

Mendelssohn Overture, A Midsummer Night’s Dream (11’) Khachaturian Violin Concerto (35’) Interval (20’) R Strauss Macbeth, Op. 23 (18’) Stravinsky The Firebird – Suite (1919 version) (19’) Andrés Orozco-Estrada conductor Kristóf Baráti violin Free pre-concert event 6.00–6.45pm | Royal Festival Hall Dr Lucy Munro, Lecturer in Shakespeare at King’s College London, is joined by actors and musicians to explore two landmark productions of Macbeth through visual material, performed extracts and music.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome LPO 2016/17 season 3 Shakespeare400 4 About the Orchestra 5 Leader: Pieter Schoeman 6 On stage tonight 7 Andrés Orozco-Estrada 8 Kristóf Baráti 9 Programme notes 13 Recommended recordings 14 Next concerts 15 LPO Label news 16 NOISE: students and under-26s 18 Sound Futures donors 19 Supporters 20 LPO administration The timings shown are not precise and are given only as a guide.

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss A few points to note for your comfort and enjoyment:

LPO 2016/17 season

New season now on sale! Next season's LPO concerts at Royal Festival Hall are now open for booking. After the huge success of The Rest Is Noise festival in 2013, we are excited to be collaborating once again with Southbank Centre on another large-scale multi-artform festival. Belief and Beyond Belief will interest atheists, agnostics and those of all faiths. We have devoted our 2017 concerts to the festival, beginning with Beethoven's profound statement on the human condition, Fidelio. LPO Principal Conductor and Artistic Advisor Vladimir Jurowski takes a major role throughout as we explore belief as revealed in works ranging from Haydn's The Creation to John Adams's Harmonielehre. Other season highlights include:

• • • • •

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.

•

Anne-Sophie Mutter playing Beethoven's Violin Concerto under Robin Ticciati The return of Osmo Vänskä to conduct a Sibelius symphony cycle alongside major British works by Britten, Elgar, Walton and Vaughan Williams Vladimir Jurowski's continuation of his Mahler and Bruckner symphony cycles Mahler's epic Symphony No. 8 (Symphony of a Thousand), preceded by Tallis's 40-part motet Spem in Alium Nicola Benedetti performing both Szymanowski violin concertos under Jurowski A seven-concert choral focus showcasing the London Philharmonic Choir and guests Landmark contemporary works by Steve Reich and Gavin Bryars The world premiere of American jazz composer Wayne Shorter's Clarinet Concerto, performed by Julian Bliss The LPO takes centre stage in Southbank Centre’s Film Scores Live festival, performing music from 2001: A Space Odyssey, Brief Encounter and Psycho with live film Cabaret diva Meow Meow with members of the cross-genre band Pink Martini

Browse the new season brochure online at lpo.org.uk/newseason or call us on 020 7840 4200 to request a copy in the post. 2 | London Philharmonic Orchestra

lpo.org.uk/shakespeare

Concerts at Royal Festival Hall

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

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

Pre-concert talks

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

Special performances

Welcome to our Shakespeare400 series, part of a UKwide festival of concerts, talks and exploratory events celebrating the musical legacy of the world’s greatest playwright, William Shakespeare.

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

London Philharmonic Orchestra

One of those unforgettable evenings where everything and everyone performed beautifully [with] an extraordinary performance by the London Philharmonic ... The ovation should have been standing. Andrew Collins, The News, March 2015 Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives over 30 concerts each season. Throughout 2014/15 the Orchestra gave a series of concerts entitled Rachmaninoff: Inside Out, a festival exploring the composer’s major

4 | London Philharmonic Orchestra

orchestral masterpieces. 2015/16 is a strong season for singers, with performances by Toby Spence and Anne Sofie von Otter amongst others; Sibelius enjoys 150th anniversary celebrations; distinguished visiting conductors include Stanisław Skrowaczewski, JukkaPekka Saraste and Vasily Petrenko, with Robin Ticciati returning after his debut in 2015; and in 2016 the LPO joins many of London’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400 years since his death. The Orchestra continues its commitment to new music with premieres of commissions including Magnus Lindberg’s Second Violin Concerto and Alexander Raskatov’s Green Mass. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of

Pieter Schoeman leader

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

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download. Recent additions include Rachmaninoff's Symphony No. 3 and 10 Songs under Vladimir Jurowski, and archive recordings of Mahler Symphonies and Beethoven’s Symphony No. 5 conducted by Klaus Tennstedt. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence across social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7 instagram.com/londonphilharmonicorchestra

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

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

London Philharmonic Orchestra | 5

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

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

Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Rebecca Shorrock Caroline Sharp Caroline Frenkel Second Violins Andrew Storey Principal Tania Mazzetti Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Helen Nicholls Mila Mustakova Alison Strange John Dickinson Elizabeth Baldey

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Naomi Holt Alistair Scahill Daniel Cornford Richard Cookson Sarah Malcolm Cellos Kristina Blaumane Principal Chair supported by Bianca and Stuart Roden

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

Sue Sutherley Helen Rathbone George Hoult Double Basses Kevin Rundell* Principal George Peniston Laurence Lovelle Lowri Morgan Charlotte Kerbegian Helen Rowlands Laura Murphy Ben Wolstenholme Flutes Samuel Coles Guest Principal Sue Thomas* Chair supported by Victoria Robey OBE

Stewart McIlwham*

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

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

David Whitehouse Ross Learmonth

Oboes Ian Hardwick* Principal Alice Munday

Bass Trombone Lyndon Meredith Principal

Cor Anglais Sue Böhling* Principal

Tuba Lee Tsarmaklis* Principal

Clarinets Robert Hill* Principal Thomas Watmough

Timpani Simon Carrington* Principal

Bass Clarinet Paul Richards Principal Bassoons Jonathan Davies Guest Principal Gareth Newman Contrabassoon Simon Estell Principal Horns John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller Trumpets Paul Beniston* Principal Anne McAneney*

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal Chair supported by Jon Claydon

Keith Millar James Bower Harp Rachel Masters* Principal Piano/Celeste Catherine Edwards * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal Bass Trumpet David Whitehouse

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert: Simon Robey

6 | London Philharmonic Orchestra

Andrés Orozco-Estrada conductor

An aspiring young conductor with the musical world at his feet.

Der Spiegel, May 2013

Andrés Orozco-Estrada was born in Colombia and trained in Vienna. This season he became the London Philharmonic Orchestra's Principal Guest Conductor. In September 2014, he took up the positions of Music Director of the Houston Symphony and Chief Conductor of the Frankfurt Radio Symphony Orchestra. Andrés first came to international attention in 2004 when he took over a concert with the Tonkünstler Orchestra Niederösterreich at the Vienna Musikverein. Numerous engagements with many international orchestras followed, and since then, he has developed a highly successful musical partnership with the Tonkünstler Orchestra, serving as Music Director from the 2009/10 season until 2015. Between 2009 and 2013, Orozco-Estrada was also Principal Conductor of the Orquesta Sinfónica de Euskadi (Basque National Orchestra). He has worked with some of the world’s leading orchestras, including the Vienna Philharmonic, Munich Philharmonic, and Leipzig Gewandhaus orchestras, Mahler Chamber Orchestra, City of Birmingham Symphony Orchestra, the Santa Cecilia Orchestra in Rome, Norddeutscher Rundfunk Orchester in Hamburg (NDR), and the Orchestre National de France. In November 2012, Andrés Orozco-Estrada stepped in once again at short notice to replace Riccardo Muti with the Vienna Philharmonic in the Musikverein, proving to be a 'stand-in worth his weight in gold' (Kurier) and 'an inspired master of communication' (Standard).

with a production of Don Giovanni. Highlights of the 2014/15 season included returns to the Orchestre National de France, the Santa Cecilia Orchestra and the Vienna Philharmonic as well as debuts with the Pittsburgh Symphony, Royal Concertgebouw and Oslo Philharmonic orchestras. This season sees his debuts with the Cleveland and Philadelphia orchestras and a return to the Gothenburg Symphony following a highly successful debut in 2014. Born in 1977 in Medellín (Colombia), Andrés OrozcoEstrada began his musical studies on the violin and had his first conducting lessons at the age of 15. In 1997, he moved to Vienna where he joined the conducting class of Uroš Lajovic, pupil of the legendary Hans Swarowsky, at the renowned Vienna Music Academy, completing his degree with distinction by conducting the Vienna Radio Symphony Orchestra at the Vienna Musikverein. While the emphasis of his artistic work lies in the Romantic repertoire and Viennese classics, at the same time he shows a keen interest in contemporary music and regularly performs premieres of Austrian composers as well as new compositions of Spanish and South American origin. Andrés currently lives in Vienna with his wife and young daughter. orozcoestrada.com

During the 2013/14 season, he made his debuts with the Royal Stockholm Philharmonic and St Louis Symphony orchestras and also made his conducting debut at Glyndebourne Festival Opera

London Philharmonic Orchestra | 7

Kristóf Baráti violin

A talent like him comes along once in a decade, perhaps once in a generation.

Fanfare Magazine

Hungarian violinist Kristóf Baráti performs regularly with all the major Hungarian orchestras and in recital and chamber music across the country, and is becoming recognised increasingly across the globe for the extraordinary quality of his musicianship. He has won many major prizes including the third prize and audience prize at the Queen Elisabeth Competition in 1997, when he was the competition’s youngest competitor. In 2014, at the age of 35 and in recognition of his great artistry, he was awarded Hungary’s highest cultural award, the Kossuth Prize, following in the footsteps of revered Hungarian artists such as András Schiff, György Ligeti and Iván Fischer. Having spent much of his childhood in Venezuela, where he played as soloist with many of the country’s leading orchestras, Kristóf returned to Budapest to study at the Franz Liszt Academy of Music and was later mentored by Eduard Wulfson, himself a student of Milstein and Menuhin. As a soloist he has played with orchestras such as the Mariinsky, Budapest Festival, Royal Philharmonic, Deutsches Symphonie-Orchester, NDR Symphony, NHK Symphony and WDR Symphony orchestras, and with conductors such as Kurt Masur, Marek Janowski, Charles Dutoit, Jiří Bělohlávek, JukkaPekka Saraste, Mikhail Pletnev, Gilbert Varga, Iván Fischer, Jakub Hrůša and Yuri Temirkanov. Highlights of the 2015/16 season include his return to NDR Hannover with Andrew Manze and a performance with the Moscow State Symphony Orchestra. Tonight's concert is Kristóf's debut with the London Philharmonic Orchestra, and he will again appear with the Orchestra tomorrow night in the same programme at Brighton Dome.

8 | London Philharmonic Orchestra

A regular recital and chamber music player, Baráti made his French recital debut at the age of eleven at the prestigious Festival de Radio France in Montpellier and has since performed all over Europe and the US with partners such as Richard Goode, Jean-Efflam Bavouzet, Mischa Maisky, Yuri Bashmet, Miklós Perényi, Dénes Várjon, Zoltán Kocsis and Kim Kashkashian, amongst others. Future plans include recitals in Paris, Chicago and New York, and in July 2016 he will make his debut at the Verbier Festival with two solo Bach recitals. Kristóf Baráti has recorded Bach's Sonatas and Partitas for solo violin and the first two Paganini concertos for the Berlin Classics label. For Brilliant Classics he has recorded the complete Beethoven and Brahms sonatas with Klára Würtz, and the complete Ysaÿe solo sonatas. Forthcoming releases include the five Mozart concertos, and sonatas by Ravel, Fauré and Franck. Of his latest disc of encores, The Soul of Lady Harmsworth, which was released last month, Gramophone magazine wrote: 'For those who like to hear the violin played at its sweet and acrobatic best, then Baráti is out of the top drawer.' Baráti plays the 1703 'Lady Harmsworth' violin made by Antonio Stradivarius, kindly offered by the Stradivarius Society of Chicago. kristofbarati.com

Programme notes

Speedread ‘From our youth we were entwined in A Midsummer Night’s Dream, and Felix particularly made it his own. He identified with all of the characters. He recreated them, so to speak, every one of them whom Shakespeare produced in the immensity of his genius.’ Mendelssohn’s sister Fanny told a tale that could have been repeated in many cultured German households in the 19th century. In Britain we can feel possessive about Shakespeare, but for Mendelssohn and Richard Strauss, brought up on Schlegel’s classic translations, there was no question that the Bard was ganz unser: ‘entirely ours’.

Felix Mendelssohn

Russia came late to Western music, but it was quick to discover the radical potential of its own natural creative resources. Stravinsky’s Firebird tells an old story with long-remembered melodies, but with such dazzling originality and colour that no 20thcentury composer could ignore it. And Khachaturian’s Armenian roots give a powerfully original flavour to his flamboyant Violin Concerto. Whether told by Shakespeare or by word-of-mouth, some stories are good enough to go on forever – and to inspire music that retells and renews them on its own gloriously enjoyable terms.

Overture, A Midsummer Night’s Dream

1809–47

Of all musical prodigies, Mendelssohn can justifiably be considered the most astonishing. Even Schumann’s description of him as ‘the Mozart of the 19th century’ probably does him poor justice. For while Mozart composed few works before his late teens that are heard and admired today in their own right, Mendelssohn’s gifts, nurtured by enlightened teaching and enriched by parallel talents for poetry and painting, led him in just six years from his first known composition – a piano piece written when he was eleven – to two masterpieces: the String Octet, composed when he was sixteen; and the Overture to A Midsummer Night’s Dream, produced the following year. By the mid-1820s the Mendelssohn family house in Berlin had become one of the city’s most important cultural and intellectual salons, with leading philosophers, writers, musicians and scientists among

its visitors. It was in these surroundings that the young Felix acquired a taste for Shakespeare in the influential German translations of August Wilhelm von Schlegel; and it was here that the Midsummer Night’s Dream Overture was first performed on 6 August 1826. Like all of Mendelssohn’s works, it is composed with supreme skill and polish, but its greatness lies in the success with which it conjures Shakespeare’s magic world. Right from the start we are in the fairy realm as four atmospheric wind chords lead to a feather-light dance for strings. Later on, there is a Romantic theme for the lost lovers and a boisterous representation of the braying of the weaver Bottom, transformed into an ass. Mendelssohn does not really attempt to follow the story of the play with these themes, but after the fairies have been to the fore in the work’s central portion, there is a broken, almost tragic version of the lovers’ theme

London Philharmonic Orchestra | 9

Programme notes continued

which seems to be healed by the reappearance of the opening chords. And as the Overture closes in a mood of enchanted calm it is hard not to call to mind the play’s closing moments when, tramping humans having gone to bed, the night is once more the place for fairy sports. Programme note © Lindsay Kemp

Aram Khachaturian 1903–78

Today, Aram Khachaturian is best remembered for his ballet scores Gayaneh (1942) and Spartacus (1954). But he saw himself primarily as a composer of concertos: ‘A thirst for concertos, for the colourful virtuoso style, is inherent to my creative personality’, he wrote. ‘I just enjoy creating a piece in which a virtuoso soloist can compete cheerfully with a full symphony orchestra.’ And in the summer of 1940, he found just such a soloist: the young Russian violinist David Oistrakh. The Soviet Composers’ Union loaned Khachaturian a country dacha outside Moscow, and he worked quickly: ‘I wrote with great enthusiasm. I was overflowing with musical ideas – in fact, I couldn’t get them down on the page quickly enough!’ Oistrakh recalled the heady process: ‘Khachaturian came round to our summer home’, he recalled. ‘He was so full of his new composition that he dashed straight to the piano. Playing with his typical ardour and inspiration, we were all fascinated. The music seemed to sparkle – sincere, original, witty, full of melodic beauty and oriental colour.' Finished in a matter of weeks, the Violin Concerto was premiered in the brand new Tchaikovsky Hall in Moscow on 16 September 1940. It was a memorable night, with Shostakovich and Prokofiev amongst an all-star audience. ‘Everyone loved the Concerto’, remembered Oistrakh. ‘A new masterpiece had obviously been born, destined to have a great life on the concert platform.’ 10 | London Philharmonic Orchestra

Violin Concerto Kristóf Baráti violin 1 Allegro con fermezza 2 Andante sostenuto 3 Allegro vivace

It’s easy enough to hear why. The 20th century has produced an impressive crop of complex, emotionally demanding violin concertos: Khachaturian, however, was simply out to entertain. The Violin Concerto is first and foremost a showpiece for a great virtuoso. But Khachaturian lets his roots show; when the Concerto’s not pounding vigorously away in an Armenian dancerhythm, it’s singing the most seductive, languishing ‘oriental’ tunes since Rimsky-Korsakov’s Scheherazade. Subtle, it isn’t. Fun, it most certainly is. That doesn’t mean it’s obvious. Take the very opening of the first movement. The orchestra barely finishes hammering out its opening rhythm (con fermezza = firmly) before the violinist charges in early, sawing vigorously away for a good few bars before singing its ardent opening tune. Nor is it blunt. Listen to the sultry atmosphere Khachaturian conjures as the music slows into the violin’s second group, as chiming flutes and a slow, swaying rhythm take the music south into a warmer climate. That’s the mood throughout the whole of the Andante sostenuto – a brooding Caucasian nocturne, a slow waltz for violin surrounded by weird moonlit raspings and rustlings. There’s something faintly sinister under the shimmering surface here, and it breaks out at the movement’s climax in impassioned grandeur.

Thrilling fanfares and rattling drums launch the finale too – but there’s no menace, just celebration, as Khachaturian lets the violin have its head with the most brilliant dance music yet. It’s every bit as difficult as it sounds; so sit back and enjoy the fireworks – as well as a few memories of earlier movements – as this dazzling song-and-dance concerto drives to an emphatic finish.

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

Richard Strauss

Macbeth, Op. 23

1864–1949

The young Richard Strauss grew up with Shakespeare and attended lectures on his plays at university in Munich. And when his first really distinctive musical ideas started to emerge, Shakespeare was the inspiration. Between 1886 and 1887 Strauss composed his first tone-poem, Macbeth. He worked hard to get it right, and in 1889 he rewrote the ending – a triumphal march for Macduff – after the conductor Hans von Bülow told him that ‘an Egmont overture can end with the triumph of Egmont, but a symphonic poem called Macbeth cannot end with the triumph of Macduff.’ It worked: when the revised Macbeth was first played in Berlin on 29 February 1892, even Bülow found it ‘overwhelming’. Strauss doesn’t follow the exact story of the Scottish play. But more than one commentator has felt that the fanfare-like figure that rises on flashing violins from the opening gloom represents the idea of Kingship. Immediately, Strauss introduces two themes for Macbeth himself: a turbulent march, then a dark, tormented surge of chromatic melody. Over an icy shiver of sul ponticello (playing close to the bridge)

strings, Strauss introduces Lady Macbeth’s themes: first mysterious and insinuating on woodwinds, then sensuous and increasingly powerful. Strauss quotes Shakespeare in the score: Hie thee hither, That I may pour my spirits in thine ear And chastise with the valour of my tongue All that impedes thee from the golden round … The themes of man and wife entwine ever more passionately in the first of Strauss’s great symphonic love scenes. The development section that follows embraces regal splendour, violent struggle, and the relentless hammer-blows of Macbeth’s conscience: ‘Wake Duncan with thy knocking, I would thou couldst.’ Macbeth’s downfall comes first; then the Lady’s mental disintegration and death. The skies brighten: the Kingship motif, transformed into a brisk march, heralds the arrival of Macduff. But Strauss’s gaze drifts down to Macbeth’s bloodied corpse, and the ending is brutal.

London Philharmonic Orchestra | 11

Programme notes continued

Igor Stravinsky 1882–1971

When in the summer of 1909 Sergei Diaghilev decided to commission a new score for his 1910 Ballets Russes seasons in Paris, Stravinsky wasn’t the first choice. He wasn’t even the second. The author of the ballet’s scenario, Alexandre Benois, wanted to use Nikolai Tcherepnin. Diaghilev favoured Rimsky-Korsakov’s pupil Anatoly Liadov. Unfortunately, Diaghilev had temporarily forgotten one important fact about Liadov: he was an extremely slow worker. With plans already confirmed for the new ballet’s premiere, he turned instead to another, much younger Rimsky pupil – 27-year-old Igor Stravinsky. It was a bold choice. Stravinsky, though gifted, was something of a late developer, and although earlier in 1909 he’d orchestrated a couple of pieces of Chopin for Diaghilev’s Les Sylphides, this would be his first score on such an ambitious scale. He’d been working on his opera Le Rossignol in St Petersburg. ‘But a telegram then arrived to upset all my plans’, he recalled in his autobiography: Though alarmed by the fact that this was a commission for a fixed date and afraid lest I should fail to complete the work in time – I was still unaware of my own capabilities – I accepted the order. It was highly flattering to be chosen from among the musicians of my generation… Rimsky-Korsakov’s sons loaned him the family’s country dacha, and early in November 1909, Stravinsky got down to work. ‘I worked strenuously at it’, he remembered, though unsurprisingly in the circumstances, the dacha wasn’t the only thing that Stravinsky borrowed from his late teacher. Rimsky had written his own opera on a similar Russian folktale, Kashchei the Immortal, in 1902, and The Firebird is full of orchestral techniques and even melodies learned from Rimsky-Korsakov. (Stravinsky’s Khorovod and Rimsky-Korsakov’s Sinfonietta of 1884 use the same old Russian dance tune).

12 | London Philharmonic Orchestra

The Firebird – Suite (1919) Introduction – Appearance of the Firebird – Dance of the Firebird – The Princesses’ Khorovod – Infernal Dance of King Kashchei and his Subjects – Lullaby – Finale Still, with his master no longer looking over his shoulder, Stravinsky’s imagination soared. The Firebird is as colourful as Rimsky-Korsakov at his most extravagant – Stravinsky even devised a wholly new orchestral effect, the whispered, iridescent ‘harmonic glissandos’ of the strings during the Introduction. The ballet premiered at the Paris Opéra on 25 June 1910 with Michel Fokine’s stunning choreography and Tamara Karsavina in the title role. Stravinsky, though, was concentrating on his music: ‘The stage and the whole theatre glittered at the premiere, and that is all I recall.’ Diaghilev was more perceptive. ‘Mark him well’, he remarked of Stravinsky during rehearsals. ‘He is a man on the eve of celebrity.’ This concert suite – one of three created by Stravinsky – follows the story of the ballet. The realm of the immortal demon-king Kashchei is dark and lifeless (Introduction). Enter, in a shower of sparks, the magical Firebird (Dance of the Firebird), hotly pursued by Prince Ivan Tsarevich. The Prince catches the Firebird, and to win its freedom the bird gives him one of its enchanted feathers – the only thing that can break Kashchei’s spells. The Prince now encounters 13 beautiful princesses, enslaved by Kashchei. As he watches them dance a gentle Russian khorovod (round dance), he falls in love; but Kashchei’s attendant monsters swarm round and prepare to turn him to stone in a frenetic Infernal Dance. In the nick of time, the Prince remembers the magic feather. The Firebird re-appears, putting the monsters to sleep with an eerie Lullaby. Guided by the Firebird, the Prince finds and smashes the egg containing Kashchei’s immortal soul; and the spells are undone. While a solo horn sings a quiet folk-song, Kashchei’s petrified victims gradually return to life, and as light spreads across the kingdom, the full orchestra celebrates in a jubilant closing hymn. Khachaturian, Strauss and Stravinsky programme notes and Speedread © Richard Bratby

Saturday 23 April 2016 | 7.30pm Royal Festival Hall Recommended recordings of tonight’s works Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. Mendelssohn: Overture, A Midsummer Night's Dream London Philharmonic Orchestra | Andrew Litton | Classics for Pleasure Khachaturian: Violin Concerto Lydia Mordkovich | Royal Scottish National Orchestra | Neeme Järvi [Chandos] R Strauss: Macbeth Dresden Staatskapelle | Rudolf Kempe [Warner] or Royal Scottish National Orchestra | Neeme Järvi [Chandos] Stravinsky: Firebird Suite London Philharmonic Orchestra | Georg Solti [LPO Label 75th Anniversary Box Set Vol. 2, LPO-0098]

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

Shakespeare400: Anniversary Gala Concert A special gala event celebrating the greatest playwright that ever lived Scenes from: Verdi Otello Tchaikovsky Hamlet Vaughan Williams Serenade to Music Britten A Midsummer Night’s Dream Mendelssohn A Midsummer Night’s Dream Berlioz Roméo et Juliette Prokofiev Romeo and Juliet Thomas Adès The Tempest Walton Henry V Verdi Falstaff Vladimir Jurowski conductor Simon Callow director London Philharmonic Orchestra The Glyndebourne Chorus Soloists including: Kate Royal soprano Allison Bell soprano Dame Felicity Palmer mezzo soprano Rachael Lloyd mezzo soprano Iestyn Davies countertenor Toby Spence tenor Ronald Samm tenor Alasdair Elliott tenor Andrew Shore baritone Simon Keenlyside baritone Lukas Jakobski bass Tickets £12–£48 (premium seats £75) London Philharmonic Orchestra Ticket Office: 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone

Concert generously supported by Victoria Robey OBE and members of the Shakespeare400 Syndicate

London Philharmonic Orchestra | 13

Next concerts at Royal Festival Hall Saturday 5 March | 7.30pm

Friday 18 March | 7.30pm

Tchaikovsky Symphony No. 3 Zemlinsky Six Maeterlinck Songs Szymanowski Stabat Mater*

Rachmaninoff Piano Concerto No. 2 Brief Encounter (film with live orchestra)

Vladimir Jurowski conductor Elżbieta Szmytka soprano Anne Sofie von Otter mezzo soprano Andrzej Dobber baritone London Philharmonic Choir

David Charles Abell conductor Jayson Gillham piano

* Organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music Programme, to commemorate the 1050th anniversary of the Baptism of Poland

Wednesday 9 March | 7.30pm Rachmaninoff Piano Concerto No. 3 Zemlinsky Die Seejungfrau (The Mermaid) Vladimir Jurowski conductor Marc-André Hamelin piano Broadcast live by BBC Radio 3

By arrangement with ITV Studios Global Entertainment & Park Circus Films

Saturday 9 April | 7.30pm Schoenberg Verklärte Nacht* Brahms A German Requiem Christoph Eschenbach conductor Sarah Tynan soprano Matthias Goerne baritone London Philharmonic Choir * Please note a change to the programme from originally advertised

Friday 15 April | 7.30pm JTI friday series

De Falla The Three-cornered Hat (Suite No. 2) Rodrigo Fantasía para un gentilhombre* Prokofiev Romeo and Juliet (excerpts) Jaime Martín conductor Miloš Karadaglić guitar * Please note a change to the programme from originally advertised

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

14 | London Philharmonic Orchestra

LPO Label news

New CD release on the LPO Label: Works by Julian Anderson Julian Anderson: In lieblicher Bläue: poem for violin and orchestra Alleluia The Stations of the Sun Vladimir Jurowski conductor Carolin Widmann violin London Philharmonic Choir London Philharmonic Orchestra LPO-0089 | £9.99

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

‘Anderson is a composer of ringing, bell-like harmonies and subtly shifting orchestral colour. There’s a naive glow about his music, a pearly new-dawn iridescence, as if the world has returned to a state of primal innocence’. The Telegraph

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

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

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

London Philharmonic Orchestra | 15

Student & Under-26 at Royal Festival Hall

Scheme

‘@LPOrchestra

bring it on!’ ‘Listening to the @LPOrchestra is one of the best things to do in life’ ‘@LPOrchestra I don’t know much about classical music but I do know when I am listening to something

amazing’

Students receive best available seats for just £4 and under-26s for £8 at selected concerts throughout the year.

www.lpo.org.uk/noise The London Philharmonic Orchestra's NOISE programme is supported by the Orchestra's Principal Beer Sponsor, Heineken.

16 | London Philharmonic Orchestra

Monday 4 April Southbank Centreâ&#x20AC;&#x2122;s Royal Festival Hall

A concert that charts the emotional world of Shakespeare through music from feature films, including:

Hamlet 1948 Much Ado About Nothing 1993 Twelfth Night 1996 Shakespeare in Love 1998 Titus 1999

Plus readings of the great playwrightâ&#x20AC;&#x2122;s poetry and plays

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

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

18 | London Philharmonic Orchestra

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

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

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

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

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

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

The Ann and Frederick O’Brien Charitable Trust Office for Cultural and Scientific Affairs of the Embassy of Spain in London The Austin and Hope Pilkington Trust The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous

London Philharmonic Orchestra | 19

Administration Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Roger Barron Richard Brass Desmond Cecil CMG Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rachel Masters* George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Laurence Watt Neil Westreich David Whitehouse* * Player-Director

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director (maternity leave)

Alison Atkinson Digital Projects Director

Amy Sugarman PA to the Chief Executive / Administrative Assistant

Clare Lovett Education Director (maternity cover)

Finance

Talia Lash Education and Community Project Manager

Albion Media (Tel: 020 3077 4930)

Lucy Sims Education and Community Project Manager

Philip Stuart Discographer

Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

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

Richard Mallett Education and Community Producer

Concert Management

Development

Roanna Gibson Concerts Director

Nick Jackman Development Director

Graham Wood Concerts and Recordings Manager

Catherine Faulkner Development Events Manager

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

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

Jo Cotter Tours Co-ordinator

Helen Yang Development Assistant

Orchestra Personnel

Kirstin Peltonen Development Associate

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

20 | London Philharmonic Orchestra

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

Matthew Freeman Recordings Consultant Public Relations