London Philharmonic Orchestra 28 Apr 2017 concert programme by London Philharmonic Orchestra

Concert programme lpo.org.uk

Our 2017 concerts are part of

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

Southbank Centre’s Royal Festival Hall Friday 28 April 2017 | 7.30pm

Bach (arr. Schoenberg) Prelude & Fugue in E flat major, BWV552 (St Anne) (15’) Hindemith Suite, Nobilissima Visione (21’) Interval (20’) Wagner (arr. Stokowski) Parsifal, Act III (excerpts) (15’) R Strauss Four Last Songs (25’)

John Mauceri conductor Angel Blue soprano

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

Contents 2 Welcome Orchestra news 3 On stage tonight 4 Belief and Beyond Belief 6 About the Orchestra 7 Leader: Pieter Schoeman 8 John Mauceri 9 Angel Blue New on the LPO Label: Beethoven 10 Programme notes 14 Song texts 15 Recommended recordings Next concerts 16 LPO 2017/18 season 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

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Orchestra news

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

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

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

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Ilyoung Chae Chair supported by the Candide Trust

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Grace Lee Rebecca Shorrock Jeff Moore Caroline Frenkel Alice Cooper Hall Georgina Leo Second Violins Tristan Gurney Guest Principal Helena Smart Tania Mazzetti Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

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

Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Isabel Pereira Alistair Scahill Daniel Cornford Stanislav Popov Martin Fenn Cellos Pei-Jee Ng Principal Francis Bucknall Santiago Carvalho† Chair co-supported by Molly & David Borthwick

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

Susanna Riddell Helen Rathbone David Bucknall Sibylle Hentschel Double Basses Sebastian Pennar Principal George Peniston Laurence Lovelle Lowri Morgan Charlotte Kerbegian Samuel Rice Jakub Cywinski Helen Rowlands Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

Hannah Grayson Stewart McIlwham* Piccolos Stewart McIlwham* Principal Hannah Grayson

Oboes Ian Hardwick* Principal Alice Munday Alan Garner Sue Böhling*

Trumpets Paul Beniston* Principal Mark O’Keefe Guest Principal Anne McAneney* Chair supported by Geoff & Meg Mann

David Hilton

Cor Anglais Sue Böhling* Principal

Trombones Mark Templeton* Principal

Chair supported by Dr Barry Grimaldi

Chair supported by William & Alex de Winton

Clarinets Christian Stene Guest Principal Thomas Watmough Emily Meredith

Richard Ward Bass Trombones Lyndon Meredith Principal Paul Lambert

Bass Clarinets Paul Richards Principal James Maltby

Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal

E flat Clarinets Thomas Watmough Principal Charys Green

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Bassoons Jonathan Davies Principal Gareth Newman Claire Webster Simon Estell*

Henry Baldwin* Co-Principal Keith Millar Jeremy Cornes Harps Rachel Masters Principal Anne Denholm

Contrabassoons Simon Estell* Principal Claire Webster

Celeste Catherine Edwards

Horns David Pyatt* Principal Chair supported by Sir Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Friends of the Orchestra • Bianca & Stuart Roden • Eric Tomsett

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

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

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

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

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

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

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London Philharmonic Orchestra

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

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in January 2018 we celebrate the tenth anniversary of this extraordinary partnership with a semi-staged gala performance of Wagner’s Das Rheingold. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Our year-long Belief and Beyond

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Belief festival in partnership with Southbank Centre continues to the end of 2017, exploring what it means to be human in the 21st century. Then, in 2018, we explore the life and music of Stravinsky in our new series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. 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: the 2016/17 season included visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland, and tour plans for 2017/18 include Japan, Romania, the Czech Republic, Germany, Belgium, Austria and France.

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. In 2017/18 we celebrate 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 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 regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download. Recent additions include Beethoven’s Symphonies Nos. 1 and 4 conducted by Kurt Masur; Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; and Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski.

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

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John Mauceri conductor

This was depth, thrills and beauty on a grand scale, superbly played with virtuosity, sensitivity and relish. Colin Anderson, Classical Source, 10 November 2013 (John Mauceri/London Philharmonic Orchestra at Royal Festival Hall)

John Mauceri, world-renowned conductor, educator and writer, has appeared with the world’s greatest opera companies and symphony orchestras and on the musical stages of Broadway and Hollywood. John Mauceri served as Music Director of the Teatro Regio in Turin for three years, following seven years as Music Director of Scottish Opera. He was Music Director of the Washington Opera and Pittsburgh Opera, and the first Music Director of the American Symphony Orchestra at Carnegie Hall after its legendary founding director, Leopold Stokowski, with whom he studied. For 15 years he served on the faculty of his alma mater, Yale University, and he returned in 2001 to teach and conduct an official concert celebrating the University’s 300th anniversary. For 18 years John Mauceri worked closely with Leonard Bernstein, and conducted many of the composer’s premieres at Bernstein’s request. John Mauceri is Founding Director of the Hollywood Bowl Orchestra, which was created for him in 1991 by the Los Angeles Philharmonic Association. Breaking all records at the Bowl, he has conducted over 300 concerts at the 18,000-seat amphitheatre with a total audience of four million people. He has been honoured with many awards and commendations, including ‘John Mauceri Day’ in the state of California, a Treasure of Los Angeles Award and a Young Musicians Foundation Award. From 2006–13 he served as Chancellor of the University of North Carolina’s School of the Arts, America’s first public arts conservatoire-university. He has conducted at New York’s Metropolitan Opera, London’s Royal Opera House, Covent Garden, Milan’s Teatro alla Scala, Berlin’s Deutsche Oper, the New York Philharmonic, the Chicago Symphony Orchestra, the

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Boston Symphony Orchestra and all the major London orchestras, as well as l’Orchestre Nationale de France and the Israel Philharmonic. He last appeared with the LPO in November 2013, conducting a programme of film music that was subsequently released on the Orchestra’s own label (LPO-0086). John Mauceri’s book Maestros and Their Music – the Art and Alchemy of Conducting is scheduled for publication in November 2017 by Alfred A. Knopf. Deeply committed to preserving two American art forms – the Broadway musical and Hollywood film scores – John has edited and performed a vast catalogue of restorations and first performances, including a full restoration of the original 1943 production of Rodgers & Hammerstein’s Oklahoma!, performing editions of Gershwin’s Porgy & Bess, Girl Crazy and Strike up the Band, and Bernstein’s Candide and A Quiet Place. As one of two conductors in Decca Records’ award-winning series Entartete Musik, Mauceri made a number of historic first recordings of music banned by the Nazis. The intersection of the ‘degenerate composers’ of Europe and the refugee composers of Hollywood is the subject of much of his research and his writings. In addition, John has conducted significant premieres of works by Verdi, Debussy, Hindemith, Ives, Stockhausen and Weill. John Mauceri is one of the world’s most accomplished recording artists, having released over 75 audio CDs, and is the recipient of Grammy, Tony, Olivier, Drama Desk, Edison Klassiek, Emmy, Diapasons d’Or, Cannes Classique, ECHO Klassik, Billboard awards, and four Deutsche Schallplatten awards.

Angel Blue soprano

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

American soprano Angel Blue has performed with the Berlin Philharmonic, Munich Philharmonic, Israel Philharmonic, Wiener Staatsoper, Semperoper Dresden, Los Angeles Opera, Teatro alla Scala Milan, San Francisco Opera and Frankfurt Opera; and at the Walt Disney Concert Hall, Theater an der Wien, Auditorio Nacional de Música, Seoul Arts Center and Edinburgh International Festival. Tonight’s concert is her debut with the London Philharmonic Orchestra. Angel’s operatic roles include Violetta (La traviata), Mimì (La bohème), Micaëla (Carmen), Lucia (Lucia di Lammermoor), Helena (A Midsummer Night’s Dream), Liù (Turandot), Manon (Manon), Countess Almaviva (The Marriage of Figaro), Giulietta and Antonia (Les Contes d’Hoffmann), Dido (Dido and Aeneas), and Donna Elvira (Don Giovanni), while on the concert platform her repertoire includes Strauss’s Four Last Songs, Mahler’s Symphony No. 2 and Verdi’s Requiem. Angel recently sang Schumann’s Das Paradies und die Peri with the Orchestra dell’Accademia Nazionale di Santa Cecilia. Future engagements include Mimì and Bess for the Metropolitan Opera, Violetta in La traviata for the Royal Opera House and Seattle Opera, Micaëla in Carmen for the Staatsoper Hamburg, and Mimì for the Semperoper Dresden.

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

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

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

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Programme notes

Speedread Almost every historical account of the AustroGermanic tradition begins with Bach. ‘Any musician’, wrote Hindemith, ‘even the most gifted, takes a place second to Bach’s at the very start.’ Fondly known by many as the ‘father of harmony’, Schoenberg would go a step further in 1946 when he declared: ‘Bach sometimes operated with the twelve tones in such a manner that one would be inclined to call him the first twelve-tone composer.’ This remarkable lineage from the tail-end of the 17th century into the stark, unforgiving landscape of the 21st has been equalled by no other composer; his music cast its shadow over even the most vehement modernists.

Johann Sebastian Bach

The sublime state of transcendence that Bach’s music seems to attain permeates this evening’s programme, a glimpse into 300 years of German music in just four works. From the ethereal beauty of Strauss’s Four Last Songs, written as the composer bade farewell to life and to his art, to the quest for the Holy Grail in Wagner’s Parsifal, music of such imperceptible mutability demands we immerse ourselves completely, freed from traditional ideas of ends and beginnings. Hindemith’s Nobilissima Visione, meanwhile, reminds us that the capacity for transcendence lives within all of us – through the very human virtues of patience, kindness and humility.

Prelude & Fugue in E flat major, BWV552 (St Anne) (arr. Schoenberg)

1685–1750

In 1726 Johann Sebastian Bach, already a widely respected organist and harpsichordist, published the first of six Partitas from what would become Volume I of his Clavier-Übung keyboard anthology. As Bach added to his series over the next 15 years, it expanded to become one of the most ambitious and comprehensive keyboard collections of its time. Volume II was published in 1736 and included the Italian Concerto and French Overture; Volume III followed in 1739 with a selection of music for organ; the final chapter, Volume IV, was published in 1741 and comprised a set of variations on an original theme, now known as the ‘Goldberg’ Variations. While the Goldbergs have become the best-known part of Bach’s Clavier-Übung, Volume III is by far the most elaborate and wide-ranging. Bookended by the Prelude and Fugue in E flat major, BWV552 (1739), the third

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volume also includes 21 chorale preludes and a set of four ‘duets’, all of which were originally written for organ. It may seem curious, then, that in 1928 Arnold Schoenberg (1874–1951), having recently unveiled his revolutionary new twelve-tone composition technique to a startled public, should choose to revisit an almost 200-year-old prelude and fugue as the basis of a new piece of orchestration. ‘I can only say what I have done myself in this regard in my Prelude and Fugue,’ he wrote. ‘I have, so to speak, modernised the organ, replaced its slow, rarely occurring change of colours, with a more richly varied one that establishes precisely the rendition and the character of the individual passages, and I have given attention to the clarity in the web of voices.’ Tying it to his concept of Klangfarbenmelodie (‘sound-colour-melody’), a process in which the sound of a note is as important as the note itself, Schoenberg hoped to illuminate Bach’s intricate structures across

a huge orchestral canvas. The result, as tonight’s conductor John Mauceri explains, is ‘a tour de force of Schoenberg’s orchestrational genius. The very first note of this 15-minute work, presents us with four different simultaneous dynamics and “envelopes” – that is, the direction of those dynamics and whether they make a crescendo, diminuendo, start with an accent, and so forth.’

Paul Hindemith

Suite, Nobilissima Visione 1 Introduction and Rondo 2 March and Pastorale 3 Passacaglia

1895–1963

Bach’s music was a lifelong preoccupation for the German composer Paul Hindemith too, who, like Schoenberg, was fascinated by the process of integrating Baroque practices within a modern framework. But his relationship with his cultural and national identity was an uneasy one, and he fell in and out of favour with those in power throughout most of his life. Even in the early 1920s, when he had begun to develop a solid reputation for himself as a violinist and composer of some renown, there were rumblings among the Nazi press about the ‘un-Germanic’ nature of his music. Eventually, he was rejected by their more radical factions and effectively pushed out of Germany in 1937, seeking solace and a new career elsewhere in Europe before moving to America. The Suite from his 1938 ballet Nobilissima Visione (‘The Noblest Vision’) was completed just a year after his arrival in Italy, by which point, as conductor John Mauceri explains, ‘Hindemith’s densely chromatic music had crystalised into a unique voice that embraced the music of the Renaissance and Baroque while always sounding like Hindemith.’ Inspired by a trip to see Giotto’s frescoes depicting the life of Saint Francis of

Assisi in Santa Croce, Hindemith collaborated with celebrated choreographer Léonide Massine to create an original ‘dramatic and choreographic interpretation of the life of Saint Francis’, as Massine put it, sustaining ‘a mood of mystic exultation’ throughout. The three-movement Suite begins with Saint Francis lost in contemplation, the rich sonority of the full strings leading without pause into a lively depiction of a wedding ‘feast’, their cheer undimmed by being served only bread and water. The March that begins the second movement is rather more ominous, portraying the arrival of medieval soldiers who brutally attack and rob a man they discover at the side of the road. It provides a stark contrast to the ensuing Pastorale, in which Saint Francis dreams of humanity’s more endearing qualities – Obedience, Chastity and Poverty. The Suite’s closing movement is lifted directly from the ballet, an extended Passacaglia (variations above a ground bass) representing a Hymn to the Sun. ‘Here’, writes Hindemith, ‘all symbolic personifications of heavenly and earthly existence mingle in the course of the different variations.’

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

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Programme notes continued

Richard Wagner

Parsifal, Act III (excerpts) (arr. Stokowski)

1813–83

The quest for transcendence continues in the second half of tonight’s programme, with Leopold Stokowski’s (1882–1977) arrangement of Act III of Richard Wagner’s opera Parsifal (1880). Based on a medieval legend about the Holy Grail, the Holy Spear (which is said to have pierced Jesus’s side on the cross) and a group of Christian knights whose job is to protect them, Parsifal was the last opera that Wagner completed before his death. For Wagner, it was a chance to rejuvenate the public’s faith in religion: ‘When religion becomes artificial, art has a duty to rescue it’, he wrote. ‘Art can idealise those symbols, and so reveal the profound truths they contain.’ But this sublime tale of duty, belief and redemption also carries a message that is deeply human, of faith and perseverance in the face of adversity. Stokowski first encountered Wagner’s operas as a teenager in London, when he attended concerts given by the renowned conductor Hans Richter (who had conducted the premiere of Wagner’s Ring in Bayreuth in 1876). As an organist, he first transcribed these lavish scores into pieces playable at the organ, but in time he began to make orchestral adaptations of Wagner’s scores too, so that they might also become staple pieces of the concert hall repertoire. Unlike Schoenberg’s arrangements of Bach, Stokowski’s arrangement of Parsifal Act III is note-for-note Wagner. With the exception of the brass call that opens the work (which, Mauceri points out, is ‘reminiscent of the way Wagner called his audience back to the Festspielhaus before each act’), every chord, melody and piece of orchestration is as per the original. Stokowski’s adaptation deftly condenses 80 minutes of music into little more than 15. ‘What makes it different’, says Mauceri, ‘is how this orchestration is played. Stokowski instructed his strings to play with multiple bow-strokes

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that were not co-ordinated, as is normal, so as to create a seamless legato sound. He was willing to stretch and compress tempos in a constant ebb and flow. Certainly, while it was for some idiosyncratic, it was not unprecedented.’ While Stokowski made numerous cuts to his arrangement over the many years he spent performing and recording it, Mauceri has made every attempt to reinstate the complete work for this evening’s performance.

Das Rheingold: A Golden Gala Evening Saturday 27 January 2018 | 6.00pm Royal Festival Hall Wagner Das Rheingold Vladimir Jurowski conductor plus soloists including Sofia Fomina, Anna Larsson, Matthias Goerne and Matthew Rose Sung in German with English surtitles Please note start time. This performance will last approximately 2 hours 30 minutes with no interval.

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

Richard Strauss

Four Last Songs Angel Blue soprano 1 Frühling (Spring) 2 September 3 Beim Schlafengehen (Going to Sleep) 4 Im Abendrot (At Sunset)

1864–1949

The texts and translations are overleaf. When it comes to ‘last works’, it is rare for composers to hand in their notice and close up their stall – more often, we are left with half-finished masterpieces and tantalising glimpses into the mind of a composer cut off mid-sentence. But when, in 1942, Richard Strauss introduced Capriccio to the stage, the 78-year-old composer thought the work would be one of his last, and announced his retirement to his publishers. It came as something of a surprise, then, that the years that followed were some of the most fruitful of his life. What is more, with a more mature perspective he began to compose works that were more deeply heartfelt and more personal than anything that had come before. In 1946, Strauss made some sketches for a setting of Eichendorff’s poem Im Abendrot (‘At Sunset’), which depicts an old couple looking at the sunset and wondering, after a long and eventful life together,

‘Can this perhaps be death?’ He completed the song two years later and, together with three other songs on texts by Hermann Hesse – Frühling (‘Spring’), September, and Beim Schlafengehen (‘Going to Sleep’) – they were published posthumously as the Four Last Songs in 1948. Although they were written as individual entities, together they create a compelling set – songs of farewell not just to life but also to friends, work, love and art. Strauss may not have known that they were to be his last completed series of works, but there is an unmistakable trace of leave-taking in both the choice of texts and in Strauss’s approach to their musical settings. Most poignantly of all, Strauss quotes from his earlier tone-poem Tod und Verklärung (‘Death and Transfiguration’) in the closing strains of Im Abendrot; a year later, he would declare calmly from his deathbed: ‘Dying is just like I composed it in Tod und Verklärung.’ Programme notes © Jo Buckley

John Mauceri conducts on the LPO Label The Genius of Film Music: Hollywood Blockbusters 1960s to 1980s £10.99 (2 CDs) | LPO-0086 The decades of epic Hollywood film making from the 1960s to 1980s produced some of the most iconic film music scores of the 20th century. In this live recording charting the development of the ‘Hollywood sound’, the LPO and John Mauceri present music from Psycho, Star Trek, Lawrence of Arabia and the first release of the orchestral score to Cleopatra, amongst others. 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

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Song texts

Frühling

Spring

In dämmrigen Grüften träumte ich lang Von deinen Bäumen und Blauen Lüften Von deinem Duft und Vogelgesang. Nun liegst du erschlossen in Gleiss und Zier Von Licht übergossen wie ein Wunder vor mir. Du kennst mich wieder, du lockst mich zart; Es zittert durch all meine Glieder deine selige Gegenwart.

In halflight I waited, dreamed all too long of trees in blossom, those flowing breezes, that fragrant blue and thrushes’ song. Now streaming and glowing from sky to field With light overflowing, all these charms are revealed. Light gilds the river, light floods the plain; Spring calls me: and through me there quivers life’s own loveliness returned.

Hermann Hesse

September

Der Garten trauert, Kühl sinkt in die Blumen der Regen.

These mournful flowers, rain-drenched in the coolness are bending, While summer cowers, mute as he waits for his ending. Gravely each golden leaf falls from the tallest acacia tree; Summer marvels and smiles to see his own garden grow faint with grief. Lingering still, near the roses long he stays, longs for repose; Languid, slow to the last, his weary eyelids close.

Der Sommer schauert, still seinem Ende entgegen. Golden tropft Blatt um Blatt nieder vom hohen Akazienbaum. Sommer lächelt erstaunt und matt in den sterbenden Gartentraum. Lange noch bei den Rosen bleibt er stehen, sehnt sich nach Ruh. Langsam tut er die müdgewordnen Augen zu. Hermann Hesse

Beim Schlafengehen

Going to Sleep

Nun der Tag mich müd’ gemacht, Soll mein sehnliches Verlangen Freundlich die gestirnte Nacht Wie ein müdes Kind empfangen.

Now the day has wearied me, All my gain and all my longing Like a weary child’s shall be Night, whose many stars are thronging.

Hände lasst von allem Tun, Stirn vergiss du alles Denken, Alle meine Sinne nun Wollen sich in Schlummer senken.

Hands, now leave your work alone; Brow, forget your idle thinking; All my thoughts, their labour done, Softly into sleep are sinking.

Und die Seele unbewacht Will in freien Flügen schweben, Um im Zauberkreis der Nacht Tief und tausendfach zu leben.

High the soul will rise in flight, Freely gliding, softly swaying, In the magic realms of night, Deeper laws of life obeying.

Hermann Hesse

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Im Abendrot

At Sunset

Wir sind durch Not und Freude gegangen Hand in Hand; Vom Wandern ruhen wir nun überm stillen Land. Rings sich die Täler neigen, es dunkelt schon die Luft.

Here both in need and gladness we wandered hand in hand; Now let us pause at last above the silent land. Dusk comes the vales exploring, the darkling air grows still. Alone two sky-larks soaring in song their dreams fulfil.

Zwei Lerchen nur noch steigen nach träumend in den Duft. Tritt her und lass sie schwirren, bald ist es Schlafenzeit. Dass wir uns nicht verirren in dieser Einsamkeit. O weiter, stiller Friede! So tief im Abendrot Wie sind wir wandermüde – ist dies etwa der Tod?

Draw close and leave them singing, soon will be time to sleep. How lost our way’s beginning! This solitude, how deep. O rest so long desired! We sense the night’s soft breath. Now we are tired, how tired – can this perhaps be death?

Joseph von Eichendorff

Recommended recordings Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. Bach (arr. Schoenberg) Prelude & Fugue in E flat major, BWV552 Los Angeles Philharmonic | Esa-Pekka Salonen (Sony) Hindemith: Suite, Nobilissima Visione BBC Philharmonic | Yan Pascal Tortelier (Chandos) Wagner (arr. Stokowski): Parsifal, Act III (excerpts) BBC Philharmonic | Matthias Bamert (Chandos) Strauss: Four Last Songs Lucia Popp| London Philharmonic Orchestra | Klaus Tennstedt (EMI/Warner)

Final LPO concert at Royal Festival Hall this season saturday 6 may 2017 7.30pm Magnus Lindberg Two Episodes* Beethoven Symphony No. 9 (Choral)† Christoph Eschenbach conductor Susanna Hurrell | Justina Gringyte | David Butt Philip | Jihoon Kim | London Philharmonic Choir * Commissioned by BBC Radio 3, London Philharmonic Orchestra with the generous support of the Boltini Trust, Helsinki Festival and Casa da Música, Porto. † Generously supported by an anonymous donor.

LPO 2017/18 season now on sale at lpo.org.uk

Book now lpo.org.uk 020 7840 4242

London Philharmonic Orchestra | 15

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

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

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

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

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

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

Sound Futures donors

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

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

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

London Philharmonic Orchestra | 17

Thank you

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

Artistic Director’s Circle An anonymous donor Victoria Robey OBE

Eric Tomsett Laurence Watt Michael & Ruth West

Orchestra Circle Natalia Semenova & Dimitri Gourji The Tsukanov Family

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

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

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

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

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

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

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

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

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

London Philharmonic Orchestra | 19

Administration

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

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager