London Philharmonic Orchestra 27 Oct 2018 concert programme by London Philharmonic Orchestra

GET

closer

2018/19 Concert Season

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

concert programme

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

Southbank Centre’s Royal Festival Hall Saturday 27 October 2018 | 7.30pm

Rossini Petite messe solennelle (77’) Please note there will be no interval in this performance.

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

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

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Kevin Lin 6 Gustavo Gimeno 7 Elizabeth Watts Sara Mingardo 8 Kenneth Tarver Luca Pisaroni 9 London Philharmonic Choir 10 Programme notes 12 Recommended recording 13 Text and translation 15 Next concerts 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries, please ask a member of staff for assistance. Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location. Explore across the site with Foyles, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Honest Burger, Côte Brasserie, Skylon and Topolski. If you wish to get in touch with us following your visit, please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone us on 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES AND WATCHES should be switched off before the performance begins.

2 | London Philharmonic Orchestra

Orchestra news

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

The Nutcracker at the Royal Albert Hall The Orchestra has long been renowned for its prowess in the opera pit at Glyndebourne, but this Christmas we’ll be branching out into ballet. The LPO has been invited to accompany Tchaikovsky’s festive favourite The Nutcracker with Birmingham Royal Ballet at the Royal Albert Hall from 28–31 December. For more information and booking visit royalalberthall.com or call the Royal Albert Hall Box Office on 020 7589 8212.

On stage tonight

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

Martin Hรถhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett

Grace Lee Rebecca Shorrock Georgina Leo Lasma Taimina Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Konrad Elias-Trostmann Helena Smart Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Marie-Anne Mairesse Sioni Williams Kate Cole Marco Norzi Violas David Quiggle Principal Ting-Ru Lai Susanne Martens Benedetto Pollani Daniel Cornford Isabel Pereira Clive Howard Martin Wray

Cellos Pei-Jee Ng Principal Francis Bucknall Laura Donoghue David Lale Elisabeth Wiklander Susanna Riddell George Hoult Double Basses Kevin Rundell* Principal Hugh Kluger George Peniston Laurence Lovelle Jim Vanderspar Flutes Stewart McIlwham* Principal Hannah Grayson Piccolo Marta Santamaria Oboes Ian Hardwick* Principal James Hulme Clarinets Jean-Pascal Post Guest Principal Paul Richards* Bassoons Jonathan Davies Principal Gareth Newman Simon Estell* Horns John Ryan* Principal

Trumpets Paul Beniston* Principal Anne McAneney*

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert:

Chair supported by Geoff & Meg Mann

Cornets Matthew Williams Gwyn Owen

Andrew Davenport William & Alex de Winton Friends of the Orchestra Roger Greenwood Dr Barry Grimaldi Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Neil Westreich

Trombones David Whitehouse Principal Duncan Wilson Bass Trombone Lyndon Meredith Principal Cimbasso Lee Tsarmaklis* Timpani Simon Carrington* Principal Harps Rachel Masters Principal Zuzanna Olbryล Organ Bernard Robertson

* Holds a professorial appointment in London Meet our members: lpo.org.uk/players

Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Elise Campbell

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

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

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout the remainder of

4 | London Philharmonic Orchestra

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

Kevin Lin leader

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include a disc of orchestral works by Richard Strauss including An Alpine Symphony, conducted by Vladimir Jurowski, and a Poulenc disc conducted by Yannick Nézet-Séguin. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. In 2017/18 we celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO Young Composers programme; the Foyle Future Firsts orchestral training programme; and the LPO Junior Artists scheme for talented young musicians from communities and backgrounds currently underrepresented in professional UK orchestras. The Orchestra’s work at the forefront of digital engagement and social media has enabled it to reach even more people worldwide: as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra

Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, Kevin has received international recognition for his musicianship and ‘soulful’ playing (The Arts Desk). He has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Pittsburgh Symphony and Houston Symphony, and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster and Principal Second Violin at The Colburn School and The Curtis Institute of Music. An avid chamber musician, Kevin’s recent collaborations include performances with the Tokyo and Ebène quartets, Edgar Meyer, Cho-Liang Lin, Orion Weiss and Andrew Bain. In recent years he has received prizes from the Irving M. Klein International Competition and the Schmidbauer International Competition, and competed in the George Enescu International Violin Competition and the Menuhin International Violin Competition. Kevin spent his early years studying with Patinka Kopec in New York, before going on to study with Robert Lipsett at The Colburn School in Los Angeles, where he received his Bachelor of Music degree. He then continued his studies at The Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.

instagram.com/londonphilharmonicorchestra

London Philharmonic Orchestra | 5

Gustavo Gimeno conductor

Gimeno breaks through internationally with his perfect baton technique and the enormous energy and tension that he creates.

Kasper Jansen, NRC Handelsblad (The Netherlands)

Gustavo Gimeno is Music Director of the Orchestre Philharmonique du Luxembourg (OPL) and incoming Music Director of the Toronto Symphony Orchestra (TSO). He made his Canadian debut with the TSO—to public and critical acclaim—in February 2018 with a virtuosic concert programme featuring music by Beethoven, Ligeti and Dvořák. Gimeno has signed a five-year contract with the TSO, to begin in the 2020/21 season. He will be the TSO’s 11th Music Director, starting in the orchestra’s 99th season. He will return to Toronto in June 2019 to conduct The Firebird—a programme anchored by the famous Stravinsky suite, also featuring works by Sibelius and Prokofiev. Since he became Music Director of the Orchestre Philharmonique du Luxembourg in 2015, Gimeno has conducted the orchestra in a wide variety of concert formats at many of the most prestigious concert halls throughout Europe. In 2017 the OPL and Gustavo Gimeno extended their contract until the 2021/22 season inclusive. This season he builds on the successful tours of previous seasons with guest performances in Germany, Austria, Belgium, Turkey and Greece. During past seasons, Gustavo Gimeno has shared the stage of the Philharmonie Luxembourg with soloists such as Daniel Barenboim, Krystian Zimerman, Khatia Buniatishvili and Bryn Terfel. Guest artists in the 2018/19 season will include Leonidas Kavakos, Yuja Wang, and Katia and Marielle Labèque. Gustavo Gimeno and the OPL will continue their series of recordings on the Pentatone label. Since this collaboration began in 2017, releases have included the First Symphonies of Shostakovich and Bruckner, Ravel’s complete ballet music for Daphnis et Chloé and, most recently, Mahler’s Fourth Symphony.

6 | London Philharmonic Orchestra

Gustavo Gimeno is also a much sought-after guest conductor worldwide. Tonight’s concert is his debut with the London Philharmonic Orchestra, and this season also sees debuts with the Los Angeles Philharmonic Orchestra, the Houston Symphony, the St. Louis Symphony Orchestra, the Seattle Symphony and the Orchestre de la Suisse Romande. He also returns to The Cleveland Orchestra, the Vienna Symphony, the Mariinsky Orchestra, the Finnish Radio Symphony Orchestra, the Swedish Radio Symphony Orchestra and the Netherlands Radio Philharmonic Orchestra. He will again appear with the Orchestra of the Eighteenth Century, a Dutch ensemble that specialises in historically informed performance practice, conducting symphonies by Schumann. In January 2019 Gustavo Gimeno will appear for the first time at the Zurich Opera, with Verdi’s Rigoletto in a production directed by Tatjana Gürbaca. He will also conduct concert performances of the opera with the OPL in Luxembourg and Paris. He made his opera debut in 2015 with Bellini’s Norma at the Valencia Opera House. In 2017 he conducted Verdi’s Simon Boccanegra and Mozart’s Don Giovanni with the OPL at the Grand Théâtre in Luxembourg. Born in Valencia, Spain, Gustavo Gimeno began his international conducting career in 2012 as assistant to Mariss Jansons while a percussionist in the Royal Concertgebouw Orchestra, Amsterdam. He also gained invaluable experience as assistant to Bernard Haitink and Claudio Abbado, who strongly supported and influenced him in many respects as a mentor.

Sara Mingardo

soprano

contralto

Elizabeth was a chorister at Norwich Cathedral and studied archaeology at Sheffield University before studying singing at the Royal College of Music in London. She was awarded an honorary DMus by Sheffield in 2013 and became a Fellow of the RCM in 2017. She is a prolific recording artist, and her recordings include critically acclaimed discs of Lieder by Schubert and Strauss; Bach cantatas; Mozart arias with the Scottish Chamber Orchestra; works by Scarlatti with The English Concert; and Couperin’s Leçons de ténèbres with La Nuova Musica. Plans for this season and beyond include Britten’s Spring Symphony with the London Symphony Orchestra and Simon Rattle; Brahms’s German Requiem with the Orchestra of the Age of Enlightenment and Marin Alsop; Vaughan Williams’s Sea Symphony with the Rundfunk Sinfonieorchester Berlin and Nicholas Carter; Fauré’s Requiem with the Stavanger Symphony Orchestra and Christian Vásquez; Mozart arias with the Bremen Philharmonic and Christian Zacharias; Ligeti’s Le Grand Macabre with the NDR Elbphilharmonie Orchester and Alan Gilbert; and Bach’s St John Passion with the RIAS Kammerchor Berlin. She will also make a return visit to Wigmore Hall. Opera roles have included Zerlina and Donna Elvira (Don Giovanni), Marzelline (Fidelio), Susanna and Countess (Le nozze di Figaro), Pamina, Fiordiligi, Almirena (Rinaldo) and Minerva (Il ritorno d’Ulisse in patria), for companies including The Royal Opera, Welsh National Opera, Glyndebourne on Tour and Santa Fe Opera. Elizabeth won the 2007 Rosenblatt Recital Song Prize at the Cardiff Singer of the World Competition and the Outstanding Young Artist Award at the Cannes Classical Awards, as well as the 2006 Kathleen Ferrier Award. She is a former BBC Radio 3 New Generation Artist and was awarded a Borletti-Buitoni Trust Award in 2011.

Elizabeth Watts

Winner of the 2009 Premio Abbiati award, Sara Mingardo is one of the few genuine contralto voices on the music scene today. She last appeared with the London Philharmonic Orchestra in March 2017 as a soloist in Mozart’s Requiem under Nathalie Stutzmann. Sara is a regular guest of some of the most prestigious institutions, enjoying successful collaborations with such conductors as Claudio Abbado, Rinaldo Alessandrini, Ivor Bolton, Riccardo Chailly, MyungWhun Chung, Paul Daniel, John Eliot Gardiner, Emmanuelle Häim, Marc Minkowski, Riccardo Muti, Roger Norrington, Trevor Pinnock, Maurizio Pollini, Christophe Rousset, Jordi Savall, Peter Schreier and Jeffrey Tate. She has appeared with orchestras including the Berlin Philharmonic, Boston Symphony Orchestra, Orchestre National de France, Les Musiciens du Louvre, Monteverdi Choir e Orchestra, Concerto Italiano, Les Talens Lyriques and Academia Montis Regalis. Her operatic repertory includes works by Gluck, Monteverdi, Handel, Vivaldi, Rossini, Verdi, Cavalli, Mozart, Donizetti, Schumann and Berlioz. In concert she also performs Bach, Beethoven, Brahms, Dvořák, Mahler, Pergolesi and Respighi. Sara Mingardo studied with Franco Ghitti at the Benedetto Marcello Conservatory in her home city of Venice, and completed her studies with a scholarship at the Accademia Chigiana in Siena. Winner of several national and international vocal competitions, she made her debut as Fidalma in Cimarosa’s Il matrimonio segreto and in the title role of Rossini’s La Cenerentola in 1987. Future plans include Penelope in Monteverdi’s Il ritorno d’Ulisse in patria at the Hamburg Staatsoper; Mozart’s Requiem with the Chicago Symphony Orchestra and in Aix-en-Provence; Mahler’s Symphony No. 2 at the Teatro La Fenice; and Giulio Cesare (Cornelia), Roméo et Juliette (Gertrude) and Semele (Juno) at the Teatro alla Scala, Milan.

London Philharmonic Orchestra | 7

Luca Pisaroni

tenor

bass-baritone

Kenneth Tarver has appeared at the most prestigious opera houses and concert halls around the world and is acknowledged for his beauty of tone, virtuosic technique, extensive and even vocal range, coupled with an attractive and elegant stage presence. He performs both wellknown and seldom-performed works with conductors such as Riccardo Chailly, Pierre Boulez, Claudio Abbado, Laurence Cummings and Teodor Currentzis.

Italian bass-baritone Luca Pisaroni has established himself as one of the most charismatic and versatile singers performing today. Since his debut aged 26 with the Vienna Philharmonic at the Salzburg Festival, led by Nikolaus Harnoncourt, Pisaroni has continued to bring his compelling artistry to the world’s leading opera houses, concert halls and festivals.

Recent performances include Berlioz’s Requiem and Beethoven’s Symphony No. 9 with the Seattle Symphony and Ludovic Morlot; Donizetti’s Don Pasquale at the Bolshoi in Moscow; Aufidio in Mozart’s Lucio Silla at the Teatro Real Madrid with Ivor Bolton; Rossini’s Eduardo e Cristina, L’occasione fa il ladro and Sigismondo at the ‘Rossini in Wildbad’ festival conducted by Antonino Fogliani; Mozart’s The Magic Flute at Opera Vlaanderen; and Rossini’s Petite messe solennelle at the Wiener Konzerthaus and at the Philharmonie Luxembourg under its Music Director Gustavo Gimeno. Kenneth Tarver’s extensive discography includes collaborations for Sony with Teodor Currentzis and MusicAeterna (Cosí fan tutte and Don Giovanni), and for Deutsche Grammophon with Pierre Boulez and the Cleveland Orchestra (Berlioz’s Les nuits d’été and Roméo et Juliette), as well as with Kent Nagano and the London Symphony Orchestra (Bernstein’s A White House Cantata). With the LSO under the late Colin Davis he recorded Berlioz’s Béatrice et Bénédicte, Roméo et Juliette and Les Troyens on LSO Live, the latter of which won Grammys for Best Opera Recording and Best Classical Recording. Kenneth is a past winner of the Metropolitan Opera National Council Auditions and was a member of the Metropolitan Opera’s Young Artist Development Program and the Staatsoper Stuttgart. A graduate of Interlochen Arts Academy at the Oberlin College Conservatory of Music, Kenneth holds a Masters of Music Performance from Yale University School of Music, where he received the Dean’s Award for the Most Outstanding Student in the graduating class. 8 | London Philharmonic Orchestra

Kenneth Tarver

This season Luca returns to the Teatro Real in Madrid to sing Méphistophélès in a new production of Gounod’s Faust, followed by his role debut as the Four Villains in Offenbach’s Tales of Hoffmann at the Baden-Baden Festspielhaus. He makes his house debut at the Gran Teatre del Liceu as Mustafà in Rossini’s The Italian Girl in Algiers and returns to the Metropolitan Opera for his highly anticipated debut in the title role of Mozart’s Don Giovanni. He will then sing Leporello (Don Giovanni) at the Bayerische Staatsoper before travelling to Houston Grand Opera for the world premiere of Tarik O’Regan’s The Phoenix. Pisaroni will also tour with the ensemble Il Pomo d’Oro in a concert version of Handel’s Agrippina in which he will debut the role of Claudio, and makes his return to the Staatsoper Berlin as Golaud in Debussy’s Pelléas et Mélisande. He ends his operatic season at the Royal Opera House in his role debut as Escamillo in Bizet’s Carmen. Concert appearances this season include Mozart’s C Minor Mass and Requiem in LInz; Beethoven’s Symphony No. 9 and Schoenberg’s A Survivor from Warsaw in Hamburg; and Beethoven’s Symphony No. 9 at the Gewandhaus Leipzig and at the Konzerthaus Dortmund with Andris Nelson. Luca Pisaroni’s discography includes Don Giovanni and Rinaldo from the Glyndebourne Festival; Le nozze di Figaro with the Opéra National de Paris; Così fan tutte, Don Giovanni and Le nozze di Figaro from the Salzburg Festival; and a recording of Don Giovanni with the Mahler Chamber Orchestra and Yannick Nézet-Séguin. Luca lives in Vienna with his wife, Catherine. Their golden retriever Lenny 2.0 and miniature dachshund Tristan are the singer’s constant travelling companions.

London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder Artistic Director Neville Creed | Accompanist Jonathan Beatty | Chairman Tessa Bartley

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Highlights in recent years have included Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; Haydn’s The Creation with Sir Roger Norrington; and Mozart’s Requiem under Nathalie Stutzmann. The Choir was delighted to celebrate its 70th anniversary in April 2017 with a highly acclaimed performance of Tallis’s Spem in alium and Mahler’s Symphony No. 8 under Vladimir Jurowski. The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. Join us: lpc.org.uk facebook.com/LondonPhilharmonicChoir twitter.com/lpchoir instagram.com/lpchoir Supported by

Sopranos Annette Argent Chris Banks Hilary Bates Catherine Boxall Vicki Brammall Laura Buntine Coco Burch Carole Cameron Ella Cape-Davenhill Olivia Carter Paula Chessell Emily Clarke Sally Cottam Jenni Cresswell Victoria Denard Lucy Doig Kathryn Flood Rachel Gibbon Emily Gordon Lennox Rosie Grigalis Nicola Hands Jane Hanson Sally Harrison Carolyn Hayman Lucie Holcova Joy Lee Martha MacBean Harriet Murray Mariana Nina Kathryn O’Leary Linda Park Genevieve Quierin Tanja Ravljen Stephanie Rawlins Rebecca Sheppard Victoria Smith Tania Stanier Katie Stuffelbeam Susan Thomas Rachel Topham Susan Watts Jo Webster Charlotte Wielgut Rochelle Williams Altos Phye Bell Sally Brien Andrei Caracoti Noel Chow Liz Cole Pat Dixon Andrea Easey Carmel Edmonds Jane Goddard Bethea Hanson-Jones Judy Jones Sasha Kaye

Andrea Lane Ethel Livermore Lisa MacDonald Laetitia Malan Ian Maxwell Malvina Maysuradze Sophie Morrison Sheila Rowland Karine Sá Ferreira Laura Scott Rima Sereikiene Annette Strzedulla Susi Underwood Jenny Watson Tenors Tim Appleby Nicholas Arratoon Christopher Beynon James Clarke Alan Glover Josh Haley David Hoare Stephen Hodges Lucas Pablo Souza Gomes Sergiu Plotnic Grigore Riciu Simon Schnorpfeil Jaka Skapin Owen Toller Claudio Tonini Basses Jonathon Bird Peter Blamire Gordon Buky-Webster Julian Cassels-Brown Geoffrey Clare Marcus Daniels Paul Fincham Ian Frost Paul Gittens Nicholas Hennell-Foley Stephen Hines David Hodgson Borja Ibarz Gabardos John Luff John D Morris John G Morris Robert Northcott Stephen Peacock Charlie Pearch Yinong Qin Edwin Smith Trevor Watson Hin-Yan Wong John Wood

London Philharmonic Orchestra | 9

Programme notes

Gioachino Rossini 1792–1868

Petite messe solennelle (Little solemn mass) Elizabeth Watts soprano Sara Mingardo contralto Kenneth Tarver tenor Luca Pisaroni bass-baritone London Philharmonic Choir

Kyrie – Christe soloists and chorus Gloria: Gloria in excelsis Deo soloists and chorus Gratias agimus tibi terzetto for mezzo-soprano, tenor and bass Domine Deus tenor solo Qui tollis peccata mundi duet for soprano and mezzo-soprano Quoniam tu solus sanctus bass solo Cum sancto spiritu chorus Credo: Credo in unum Deum soloists and chorus Crucifixus soprano Et resurrexit soloists and chorus Et vitam venturi saeculi chorus Preludio religioso organ Sanctus – Benedictus soloists and chorus O salutaris hostia soprano solo Agnus Dei mezzo-soprano solo and chorus

The text and translation begin on page 13. Rossini is remembered primarily for his immense contribution to the Italian operatic repertoire, but he also produced two important pieces of sacred music that are notable, amongst other things, for their overtly operatic style. This incorporation of the music of the opera house into the sacred repertoire may appear to have been a bold innovation, but in terms of dramatic content it was a well-established practice. Most composers who were familiar with the theatre as well as the church used elements of the operatic style in order to give their sacred compositions greater impact. A prime example is Handel, but the tradition goes back

10 | London Philharmonic Orchestra

to Monteverdi, the first great opera composer, who even borrowed his own overture to The Coronation of Poppea for the opening movement of his 1610 Vespers. What is original about Rossini’s sacred music is not so much its dramatic power, impressive though that is, as its unashamed romanticism. Like so many of the great composers, Rossini was born into a musical family. His father was the town trumpeter in Pesaro and his mother was an opera singer. Both parents worked in various theatres in the region, and from an early age Gioachino went with

them. As a talented boy soprano he was soon in great demand, and by the time he had reached his teens he could play the viola and the horn and was rapidly acquiring a reputation as a first-rate harpsichord player and pianist. He went on to study at the Bologna Academy of Music, composing his first opera whilst still a student. From then on his rise to fame was meteoric. He received his first professional commission in 1810, which led to a string of further commissions. With the enormous success of his first full-length opera, Tancredi (1812), and the even greater triumph of The Italian Girl in Algiers (1813), he became celebrated throughout Italy and his international reputation was firmly launched.

eminent visitors. These included Wagner, of whom Rossini once wryly observed, ‘His music has lovely moments but awful quarters of an hour.’

He was still only 23 when he was engaged as Musical Director of the two opera houses in Naples, for each of which he was required to compose a new opera annually, the ever-popular Barber of Seville being one of the happiest results. Rossini was always greatly attracted to a life of leisure, and as he was of a somewhat indolent nature he would frequently put off until the last possible moment the completion of his latest commission. He would then work at an incredible speed; several of his operas were written in under three weeks, an astonishing feat by any standards. He travelled widely throughout Europe, and in 1824 settled in Paris as Director of the Théâtre Italien. A string of new compositions followed, culminating in his acknowledged masterpiece, William Tell, completed in 1829 when he was still only 37.

The Petite messe solennelle is the most substantial of the works written during Rossini’s Indian summer of composition. It was composed in 1863 but was not heard in public until 1869, the year after his death, when it was performed in the composer’s own orchestral version at the Théâtre Italien. The work’s title is misleading, since it is neither petite nor particularly solemn: it lasts well over an hour, and despite the religious text is unmistakably operatic in style, in common with the Stabat Mater of 20 years earlier. The music ranges from hushed intensity to boisterous high spirits, and abounds in the memorable tunes and rhythmic vitality for which Rossini became justly famous.

At this point Rossini’s life changed dramatically. For no apparent reason he gave up composing, and apart from two important religious works, the Stabat Mater (1842) and the Petite messe solennelle (1863), he wrote nothing of significance during the last 40 years of his life. It may be that he had run out of energy and inspiration – William Tell had been his 36th opera in 19 years – or perhaps simply that he was by now so immensely wealthy that he had no particular incentive to go on working. He retired to a luxurious villa specially built for him at Passy, on the outskirts of Paris, where he was able to live the life of idleness and self-indulgence that, as a renowned gourmet and bon vivant, he had always found so appealing. A visit to his villa was obligatory for every musician of importance visiting the capital, and here Rossini would hold court, entertaining everyone with his sparkling wit and good food, and revelling in the adulation of the constant stream of admirers and

In his latter years Rossini turned once again to composition, producing what he called his Péchés de Vieillesse (Sins of Old Age), a collection of light-hearted pieces for piano, some also with voices. Despite his withdrawal from the operatic world, he continued to be held in such enormous esteem that when he died 6000 mourners, four military bands, a chorus of 400 singers and several of the finest opera soloists of the day attended his funeral.

The quiet A minor opening of the Kyrie eleison contrasts sustained choral writing with a running bass part in the accompaniment. This soon gives way to a brighter mood as the music moves into the major. For the Christe eleison, Rossini adopted a deliberately archaic style, echoing the church music of Palestrina some 300 years earlier. As the second Kyrie unfolds, the movement returns to the serious mood in which it began. The Gloria begins with a short introduction for soloists and chorus, followed by four extended movements that are operatic arias in all but name. The chorus returns for the final section of the Gloria, an extended fugue to the words ‘Cum sancto spiritu in gloria Dei Patris, Amen.’ This is a real tour de force of musical craftsmanship, reflecting the thorough classical training in harmony and counterpoint that Rossini received all those years ago at the Bologna Academy. Continued overleaf

London Philharmonic Orchestra | 11

Programme notes continued

In the Credo Rossini employs the word ‘credo’, sung by the chorus, as a unifying motif to which he repeatedly returns. The ‘Crucifixus’ is a plaintive soprano aria, full of chromatic modulations. This section of the Mass concludes with another brilliant fugue for the chorus, on the words ‘Et vitam venturi saeculi, Amen.’ There follows a Prelude, leading to a lyrical Sanctus and Benedictus for unaccompanied soloists and chorus. Here Rossini inserts the soprano solo O salutaris hostia, which is not part of the liturgy but may be used as a hymn during the Mass; it contains the kind of unusual harmonies that feature in his late pieces for piano. The work ends with a moving Agnus Dei for the mezzosoprano soloist and chorus. There is a sense in which Rossini’s extraordinary musical facility was one of his weaknesses as well as one of his strengths. He once remarked, ‘Show me a laundry list and I will set it to music!’ and this neatly illustrates his complete confidence in his own ability to produce music to order, whatever the words. To some extent, this is what he has done in the Petite messe. Of course, there are many sections which beautifully reflect the words, such as the Christe eleison and the Agnus Dei, but in other places one feels that Rossini has paid little regard to the essential meaning and form of the text. The two extended choral fugues are good examples of this; they are disproportionately grand in relation to the rest of the Gloria and Credo. Yet at no point in the work does the music become remotely dull or routine. Such was Rossini’s genius that even when the spirit of the music seems to depart from the spirit of the text, one can’t help but be captivated by the beautiful melodies and sheer joie-de-vivre of the piece. As he himself said, ‘Delight must be the basis and aim of this art’, and that is what he has achieved – a work not of profound religious insight, but one that is a delightful, lifeenhancing musical experience. Programme note © John Bawden

12 | London Philharmonic Orchestra

Recommended recording Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. Rossini: Petite messe solennelle Sara Mingardo, Marina Rebeka, Francesco Meli, Alex Espostio | Orchestre e Coro dell’Accademia Nazionale di Santa Cecilia | Antonio Pappano (Warner)

Petite messe solennelle text and translation

Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.

Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us

Gloria Gloria in excelsis Deo Et in terra pax hominibus bonae voluntatis. Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam, Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe; Domine Deus, Agnus Dei, Filius Patris; Qui tollis peccata mundi, miserere nobis; Qui tollis peccata mundi, suscipe deprecationem nostram; Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus: Tu solus Dominus: Tu solus Altissimus, Jesu Christe, Cum sancto spiritu, in gloria Dei Patris. Amen.

Glory be to God on high, and on earth peace to men of good will. We praise Thee, we bless Thee, we worship Thee, we glorify Thee, We give thanks to Thee for Thy great glory, O Lord God, heavenly King, God the Father Almighty. O Lord, the only-begotten Son, Jesu Christ; O Lord God, Lamb of God, Son of the Father; Who takest away the sins of the world, have mercy upon us. Who takest away the sins of the world, receive our prayer. Who sittest at the right hand of the Father, have mercy upon us. For Thou only art holy; Thou only art the Lord; Thou only art most high, O Jesu Christ, With the Holy Spirit, in the glory of God the Father. Amen.

Credo Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula, Deum de Deo; lumen de lumine, Deum verum de Deo vero, genitum non factum; consubstantialem Patri, per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem, descendit de coelis. Et incarnatus est de Spiritu Sancto, ex Maria Virgine: et homo factus est.

I believe in one God, the Father Almighty, Maker of heaven and earth, And of all things visible and invisible. And in one Lord Jesus Christ, the only-begotten Son of God, born of the Father before all ages, God of God, Light of Light, true God of true God, begotten, not made, being of one substance with the Father, by whom all things were made. Who for us men, and for our salvation came down from heaven. And was incarnate by the Holy Spirit of the Virgin Mary, and was made man.

Please turn the page quietly. London Philharmonic Orchestra | 13

Petite messe solennelle text continued

Crucifixus etiam pro nobis, sub Pontio Pilato passus et sepultus est. Et resurrexit tertia die secundum Scripturas, et ascendit in coelum, sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis. Et in Spiritum Sanctum Dominum et vivificantem, qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur, qui locutus est per Prophetas. Et unam sanctam Catholicam et Apostolicam Ecclesiam, confiteor unum baptisma in remissionem peccatorum, Et expecto resurrectionem mortuorum Et vitam venturi saeculi, Amen.

He was crucified also for us, under Pontius Pilate he suffered and was buried. And the third day he rose again according to the Scriptures, and ascended into heaven, and sitteth at the right hand of the Father. And he shall come again with glory to judge the living and the dead: whose kingdom shall have no end. And [I believe] in the Holy Spirit, the Lord and giver of life, who proceedeth from the Father and the Son. Who with the Father and the Son together is worshipped and glorified, who spoke by the prophets. And [I believe in] one holy Catholic and Apostolic Church. I acknowledge one Baptism for the remission of sins, And I look for the Resurrection of the dead. And the life of the world to come. Amen.

Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of Thy glory. Hosanna in the highest.

Benedictus Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Blessed is he that cometh in the name of the Lord. Hosanna in the highest.

O salutaris hostia â&#x20AC;&#x201C; Words by St Thomas Aquinas O salutaris hostia, Quae caeli pandis ostium: Bella premunt hostilia, Da robur, fer auxilium.

O saving victim Who opens wide the gate of heaven Our foes press us on every side Give us strength, bring us thine aid.

Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Lamb of God, who takest away the sins of the world, have mercy upon us, Lamb of God, who takest away the sins of the world, have mercy upon us, Lamb of God, who takest away the sins of the world, grant us peace.

14 | London Philharmonic Orchestra

GET

closer

next lpo concerts

AT Southbank Centre’s Royal Festival Hall

saturday 3 november 2018 7.o0pm please note start time Stravinsky The Rake’s Progress Vladimir Jurowski conductor Toby Spence Tom Rakewell* Sophia Burgos Anne Trulove* Matthew Rose Nick Shadow London Voices For full cast visit lpo.org.uk Concert generously supported by Victoria Robey OBE * Please note change of artist from previously advertised.

wednesday 7 november 2018 7.30pm

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

saturday 10 november 2018 7.30pm

Debussy Berceuse héroïque Magnus Lindberg Triumph to Exist (world premiere)† Stravinsky Requiem Canticles Janáček The Eternal Gospel Vladimir Jurowski conductor Andrea Danková soprano Angharad Lyddon mezzo-soprano Vsevolod Grivnov tenor Maxim Mikhailov bass London Philharmonic Choir

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

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

The eternal flame

Marking 100 years since the end of World War One Saturday 10 November 2018 7.30pm Southbank Centre’s Royal Festival Hall

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

Vladimir Jurowski conductor Andrea Dankova | Angharad Lyddon | Maxim Mikhailov London Philharmonic Orchestra & Choir * Triumph to Exist is co-commissioned by the London Philharmonic Orchestra and 14-18 NOW: WW1 Centenary Art Commissions (with support from the National Lottery through Arts Council England and the Heritage Lottery Fund, and from the Department for Digital, Culture, Media and Sport), the Gulbenkian Orchestra and the Orchestra National de Lille.

Wagner: Die Walküre Sunday 27 January 2019 | 4.00pm Royal Festival Hall Following the success of Das Rheingold in January 2018, Vladimir Jurowski presents the second instalment of our Wagner Ring Cycle. Tickets £15–60. VIP reception packages also available: visit lpo.org.uk/walkure Vladimir Jurowski conductor Stuart Skelton Siegmund Evgeny Nikitin Wotan* Ruxandra Donose Sieglinde* Stephen Milling Hunding Claudia Mahnke Fricka Svetlana Sozdateleva Brünnhilde

16 | London Philharmonic Orchestra

Ursula Hesse von den Steinen Waltraute Sinéad Campbell-Wallace Helmwige Alwyn Mellor Gerhilde Gabriela Iştoc Ortlinde Hanna Hipp Rossweisse Angela Simkin Siegrune

Rachael Lloyd Grimgerde Susan Platts Schwertleite London Philharmonic Orchestra * Please note a change of artist from previously advertised. Generously supported by members of the Orchestra’s Ring Cycle Syndicate

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 Robert Markwick & Kasia Robinski The Rind Foundation The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

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

London Philharmonic Orchestra | 17

Thank you

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

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

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

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

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

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

18 | London Philharmonic Orchestra

Paul & Brigitta Lock Mr Peter Mace Mr John Meloy Andrew T Mills Dr Karen Morton Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Natalie Pray Mr Christopher Querée Martin & Cheryl Southgate Ms Nadia Stasyuk Matthew Stephenson & Roman Aristarkhov Louise Walton Howard & Sheelagh Watson Des & Maggie Whitelock Liz Winter Bill Yoe Supporters Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Christopher Fraser OBE Will Gold Mr Peter Gray Mrs Maureen HooftGraafland The Jackman Family Mr David MacFarlane Mr Frederic Marguerre Mr Mark Mishon Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw

Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson Mr John Weekes Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (China/Hong Kong) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen)

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

Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK

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

London Philharmonic Orchestra | 19

Administration

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

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Manager