2019/20 concert season at Southbank Centre’s Royal Festival Hall
2004 2002 1904 2003 1902 1804 1903 2009 1802 2006 1803 1909 2001 1906 1809 2007 2010 1806 20081901 1907 2010 1801 1908 1807 2010 1808
Concert programme
Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI Principal Conductor Designate EDWARD GARDNER supported by Mrs Christina Lang Assael Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER CBE AM Chief Executive Designate DAVID BURKE
Southbank Centre’s Royal Festival Hall Friday 28 February 2020 | 7.30pm
Beethoven Piano Concerto No. 4 in G major, Op. 58 (34’) Interval (20’) Krzysztof Penderecki Chaconne in memory of John Paul II* (7’) Enescu Symphony No. 1 in E flat major, Op. 13** (32’)
Osmo Vänskä conductor Jeremy Denk piano
* The concert is supported in part by the Adam Mickiewicz Institute through Polska Music Programme and their partnership with LOT Polish Airlines.
** Generously supported by the Romanian Cultural Institute.
The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
Contents 2 Welcome LPO 2020/21 season 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 2020 Vision at a glance 8 Osmo Vänskä 9 Jeremy Denk 10 Programme notes 12 Penderecki on the LPO Label 13 Programme notes continued 14 Recommended recordings 16 LPO Annual Appeal 2019/20 17 Sound Futures donors 18 Supporters 20 LPO administration
WELCOME
2020/21 SEASON NOW ONLINE
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, Pret, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Spiritland, Honest Burger, Côte Brasserie, Skylon and Topolski. If you wish to get in touch with us following your visit, please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone us on 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon.
Details of next season’s concerts are now online at lpo.org.uk/newseason. General booking opens at 10am on Tuesday 3 March online and via the LPO Ticket Office. To take advantage of priority booking (open now), become a Friend of the London Philharmonic Orchestra for as little as £60 a year. Call Izzy Keig on 020 7840 4225 or visit lpo.org.uk/friends. Highlights of the new season include:
2020 Vision We continue with our acclaimed 2020 Vision project, during which we present works composed and premiered since 2000 that we believe will stand the test of time, and that deserve to be heard again. Each of these pieces is combined in concert with works composed exactly 100 and 200 years earlier, and we mark the end of 2020 Vision with the world premiere of James MacMillan’s Christmas Oratorio (see pages 6–7).
Beethoven’s 250th anniversary As part of the year-long celebrations, we continue our Beethoven Symphony Cycle with the final three symphonies and a rare performance of the Choral Fantasy.
A few points to note for your comfort and enjoyment:
Wagner’s Ring Cycle
PHOTOGRAPHY is not allowed in the auditorium.
We present our most ambitious project yet: two complete Wagner Ring Cycles conducted by Principal Conductor and Artistic Advisor Vladimir Jurowski alongside a stellar cast of Wagnerians including Torsten Kerl, Burkhard Fritz, Matthew Rose and Lise Lindstrom. With Jurowski in his final year as Principal Conductor, this will be an event to remember for years to come.
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.
Out now The Spring 2020 edition of our free LPO magazine, Tune In. Copies are available at the Welcome Desk, Level 2, Royal Festival Hall, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic
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Celebrated artists We welcome Brett Dean as our new Composer in Residence, and will perform a number of his works across the season. We are also delighted to present an array of guest artists of the highest calibre throughout the season. Alongside our Principal Conductor Designate, Edward Gardner, guest conductors include Mark Elder, Zubin Mehta, Karina Canellakis, Christoph Eschenbach, Alondra de la Parra and Klaus Mäkelä, and soloists include, among others, Anoushka Shankar, Ray Chen, Mark Padmore, Sophie Bevan, Miloš Karadaglić, Stephen Hough, Colin Currie, Steven Isserliss, Toby Spence and Bryn Terfel. Browse the full season at lpo.org.uk/newseason
ON STAGE TONIGHT First Violins Pieter Schoeman Leader Chair supported by Neil Westreich
Vesselin Gellev Sub-Leader Lasma Taimina Chair supported by Irina Gofman and Mr Rodrik V. G. Cave
Katalin Varnagy Chair supported by Sonja Drexler
Thomas Eisner Chair supported by the Chiltern Friends of the LPO
Martin Hรถhmann Robert Pool Yang Zhang Chair supported by Eric Tomsett
Amanda Smith Rebecca Shorrock Grace Lee Morane Cohen-Lamberger Nilufar Alimaksumova John Dickinson Gabriela Opacka Jamie Hutchinson Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Nรกndor Farkas Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley
Nynke Hijlkema Joseph Maher Ashley Stevens Ioana Forna Mathilde Gheorghiu Sioni Williams Alison Strange Harry Kerr
Violas David Quiggle Principal Richard Waters Co-Principal Robert Duncan Ting-Ru Lai Katherine Leek Laura Vallejo Naomi Holt Stanislav Popov Joseph Fisher Daniel Cornford Paloma Cueto-Felgueroso Martin Wray
Piccolo Katherine Bicknell
Cellos Kristina Blaumane Principal
James Maltby
Chair supported by Bianca & Stuart Roden
Pei-Jee Ng Co-Principal Ilia Laporev Francis Bucknall Laura Donoghue David Lale Elisabeth Wiklander Susanna Riddell Tom Roff Helen Rathbone Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Laura Murphy Charlotte Kerbegian Lowri Morgan Dominic Dudley Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Caroline, Jamie & Zander Sharp
Katherine Bicknell
Cornets David Hilton Tom Nielsen
Oboes Ian Hardwick* Principal Alice Munday
Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton
Cor Anglais Sue Bรถhling* Principal
David Whitehouse
Chair supported by Dr Barry Grimaldi
Bass Trombone Lyndon Meredith Principal
Clarinets Thomas Watmough Principal
Tuba Lee Tsarmaklis* Principal
Chair supported by Roger Greenwood
Timpani Simon Carrington* Principal
E-flat Clarinet Charys Green
Chair supported by Victoria Robey OBE
Bass Clarinet Paul Richards* Principal
Percussion Andrew Barclay* Principal
Bassoons Jonathan Davies Principal Chair supported by Sir Simon Robey
Gareth Newman Antonia Lazenby Contrabassoon Simon Estell* Principal Horns John Ryan* Principal Stephen Craigen Guest Principal Martin Hobbs Elise Campbell Gareth Mollison Trumpets Paul Beniston* Principal Chair supported by Donors to the 2019 Gala Player Appeal
Anne McAneney*
Chair supported by Andrew Davenport
Henry Baldwin Co-Principal Keith Millar Harp Lucy Haslar Guest Principal * Holds a professorial appointment in London Meet our members: lpo.org.uk/players
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust Gill & Garf Collins Friends of the Orchestra
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LONDON PHILHARMONIC ORCHESTRA
The LPO all-Russian Prom was one of the rarest programmes of the season, sumptuously persuasive about Glazunov’s theme-park Fifth (has the orchestra ever sounded more top-league?) The Arts Desk: ‘Best of 2019’ (BBC Proms 2019: Vladimir Jurowski conducts Rimsky-Korsakov, Rachmaninoff & Glazunov)
One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2017 Vladimir Jurowski celebrated his tenth anniversary as the Orchestra’s Principal Conductor. Edward Gardner is currently Principal Conductor Designate, and will take up the position when Jurowski’s tenure concludes in September 2021. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around
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40 concerts each season. This year’s focus is our 2020 Vision series, which features some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier. Outside London, the Orchestra has flourishing residencies in Brighton, Eastbourne and at Saffron Hall in Essex, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of recent seasons have included a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.
PIETER SCHOEMAN leader
In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. We recently celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Our dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra
Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega
The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 4 conducted by Vladimir Jurowski, Mozart chamber works with LPO Principal players, and Ravi Shankar’s only opera, Sukanya.
Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC Symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.
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in collaboration with
Tonight’s concert is part of our year-long 2020 Vision series, exploring the journey of music with pioneering works that have defined the sound of the 21st century, alongside music written exactly 100 and 200 years before.
NEW CENTURY, NEW SOUNDS
SATURDAY 8 FEBRUARY 2020
Beethoven Symphony No. 1 Eötvös Snatches of a Conversation Scriabin Symphony No. 2 Vladimir Jurowski conductor Marco Blaauw trumpet Omar Ebrahim speaker Generously supported by Cockayne Grants for the Arts and The London Community Foundation.
2002
THREE ADVENTURES
WEDNESDAY 19 FEBRUARY 2020
Beethoven Symphony No. 2 Knussen Violin Concerto Sibelius Symphony No. 2 Vasily Petrenko conductor Daniel Pioro violin Generously supported by Victoria Robey OBE.
2003
FANTASY AND REVOLUTION
SATURDAY 22 FEBRUARY 2020
Jörg Widmann Lied for Orchestra Ravel Shéhérazade Beethoven Symphony No. 3 (Eroica) Dima Slobodeniouk conductor Christine Rice mezzo-soprano 6 | London Philharmonic Orchestra
BEETHOVEN’S FIFTH SATURDAY 28 MARCH 2020
Sibelius Symphony No. 3 Dutilleux Le temps l’horloge Beethoven Symphony No. 5
lpo.org.uk/2020vision
2001
2007
2004
NEW VISIONS
WEDNESDAY 26 FEBRUARY 2020
Elgar In the South Spohr Violin Concerto No. 2 Webern Im Sommerwind Rautavaara Book of Visions Osmo Vänskä conductor Sergej Krylov violin
2005
POETRY & BELIEF FRIDAY 28 FEBRUARY 2020
Beethoven Piano Concerto No. 4 Krzysztof Penderecki Chaconne in memory of John Paul II Enescu Symphony No. 1 Osmo Vänskä conductor Jeremy Denk piano Generously supported by the Adam Mickiewicz Institute and the Romanian Cultural Institute.
2006
THE NEW BACCHUS
WEDNESDAY 25 MARCH 2020
Beethoven Symphony No. 4 Kaija Saariaho Notes on Light Scriabin Symphony No. 4 (The Poem of Ecstasy) Omer Meir Wellber conductor Johannes Moser cello
Edward Gardner conductor Sally Matthews soprano Generously supported by Mrs Aline Foriel-Destezet.
2008
LANDSCAPE AND MEMORY
WEDNESDAY 1 APRIL 2020
Ives The Unanswered Question Thomas Adès In Seven Days Beethoven Symphony No. 6 (Pastoral) Vladimir Jurowski conductor Nicolas Hodges piano
2009
THE EVEREST OF PIANO CONCERTOS WEDNESDAY 8 APRIL 2020
Méhul Symphony No. 1 Ryan Wigglesworth Augenlieder* Rachmaninoff Piano Concerto No. 3 Vladimir Jurowski conductor Sophie Bevan soprano Nikolai Lugansky piano *Supported by Resonate. Resonate is a PRS Foundation initiative in partnership with the Association of British Orchestras, BBC Radio 3 and Boltini Trust.
2010
2014
WEDNESDAY 22 APRIL 2020
WEDNESDAY 21 OCTOBER 2020
CROSSING CULTURES
A PADMORE CYCLE
John Corigliano Stomp Philip Glass Double Concerto for violin and cello Shankar Symphony
Schubert Symphony No. 2 Thomas Larcher A Padmore Cycle Nielsen Symphony No. 4 (The Inextinguishable)
Karen Kamensek conductor Daniel Hope violin Alban Gerhardt cello Anoushka Shankar sitar
Thierry Fischer conductor Mark Padmore tenor
Generously supported by Cockayne Grants for the Arts and The London Community Foundation.
2011
STORMING THE HEAVENS
WEDNESDAY 30 SEPTEMBER 2020
Julian Anderson The Discovery of Heaven Nielsen Violin Concerto Beethoven Symphony No. 7 John Storgårds conductor Simone Lamsma violin
2012
ABSOLUTE JEST
SATURDAY 3 OCTOBER 2020
John Adams Absolute Jest Bartók Four Orchestral Pieces Beethoven Symphony No. 8 Karina Canellakis conductor Heath Quartet
2013
RITES OF RENEWAL
WEDNESDAY 7 OCTOBER 2020
Schubert Symphony No. 1 Magnus Lindberg Cello Concerto No. 2 (UK premiere) Stravinsky The Rite of Spring Jukka-Pekka Saraste conductor Anssi Karttunen cello
2015
THE MIDNIGHT SUN
WEDNESDAY 11 NOVEMBER 2020
Schubert Symphony No. 3 Krzysztof Penderecki Concertino for Trumpet and Orchestra Lotta Wennäkoski Verdigris (London premiere) Sibelius Symphony No. 5 Hannu Lintu conductor Gábor Boldoczki trumpet
2016
SONG OF THE NIGHT
WEDNESDAY 25 NOVEMBER 2020
Prokofiev Symphony No. 1 (Classical) Schubert Symphony No. 5 Magnus Lindberg Two Episodes Szymanowski Symphony No. 3 (The Song of the Night) Thomas Søndergård conductor Michael Weinius tenor London Philharmonic Choir
2017
GAVRYLYUK PLAYS PROKOFIEV
SATURDAY 28 NOVEMBER 2020
Ravel Le tombeau de Couperin Schubert Symphony No. 6 Anna Thorvaldsdottir Metacosmos Prokofiev Piano Concerto No. 3 Thomas Søndergård conductor Alexander Gavrylyuk piano
2018
JUROWSKI CONDUCTS ENESCU
WEDNESDAY 2 DECEMBER 2020
J S Bach Orchestral Suite No. 1 Elena Kats-Chernin Piano Concerto No. 3 (European premiere) Enescu Symphony No. 3* Vladimir Jurowski conductor Tamara-Anna Cislowska piano London Philharmonic Choir Trinity Boys Choir *Generously supported by the Romanian Cultural Institute.
2019
ALL THE WORLD’S A STAGE
SATURDAY 5 DECEMBER 2020
J S Bach Brandenburg Concerto No. 5 Brett Dean The Players, for accordion and orchestra (UK premiere) Stravinsky Pulcinella (complete) Vladimir Jurowski conductor Pieter Schoeman violin Juliette Bausor flute Catherine Edwards harpsichord James Crabb accordion Angharad Lyddon soprano Sam Furness tenor David Soar bass Generously supported by Cockayne Grants for the Arts and The London Community Foundation.
2020
CHRISTMAS ORATORIO
SATURDAY 12 DECEMBER 2020
James MacMillan Christmas Oratorio (world premiere) Vladimir Jurowski conductor Mary Bevan soprano Christopher Maltman baritone London Philharmonic Choir Commissioned by the London Philharmonic Orchestra, NTR Zaterdag Matinee, Melbourne Symphony Orchestra and the New York Philharmonic Orchestra.
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OSMO VÄNSKÄ conductor
Vänskä isn’t only about meticulous preparation. In concert he’s a wiry dynamo: lean, whippy and indefatigably energetic. His interpretations are the same. He never stops probing and pushing.
© Joel Larson
The Times
Osmo Vänskä has been Music Director of the Minnesota Orchestra for 16 years, and in January 2020 began a new role as Music Director of the Seoul Philharmonic Orchestra. Recognised for his compelling interpretations of repertoire of all ages and an energetic presence on the podium, his democratic and inclusive style of work has been key in forging longstanding relationships with different orchestras. With the Minnesota Orchestra Vänskä has undertaken five major European tours, as well as historic trips to Cuba in 2015, at the invitation of the Cuban Ministry of Culture – the first visit by an American orchestra since the two countries announced steps to re-establish diplomatic relations – and South Africa in 2018, as part of worldwide celebrations for Nelson Mandela’s centenary. The latter was the first visit by an American orchestra to the country and drew together South African and American performers in musical expressions of peace, freedom and reconciliation, in a five-city tour that followed a successful return to London’s BBC Proms. Other highlights of his tenure in Minnesota include 19 album recordings; leading and mentoring young composers during the annual Composer Institute seminar; initiating and conducting the annual Future Classics concerts; and various educational and outreach projects in Minneapolis and other cities. As a guest conductor, this season Vänskä makes his debut with the Antwerp Symphony Orchestra and returns to the Pittsburgh Symphony, City of Birmingham Symphony, Israel Philharmonic and Taiwan Philharmonic orchestras, and the Orchestre National de Lyon, while also making his regular season appearances with the Helsinki Philharmonic and Iceland Symphony orchestras.
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A distinguished recording artist, primarily for the BIS label, Vänskä is currently recording all of Mahler’s symphonies with the Minnesota Orchestra. With four discs already released, they received a Grammy nomination for their recording of Symphony No. 5. They also previously recorded the complete symphonies of Beethoven and Sibelius, also for BIS, to excellent international reviews, winning a Grammy Award for ‘Best Orchestral Performance’ in 2014 and receiving further nominations. Vänskä has been Principal Guest Conductor of the Iceland Symphony Orchestra since 2014 (after serving as Chief Conductor from 1993–96) and Conductor Laureate of the Lahti Symphony Orchestra since 2008 (following his previous period as Music Director since 1988). He also held the position of Chief Conductor of the BBC Scottish Symphony Orchestra between 1996 and 2002. Vänskä studied conducting at Finland’s Sibelius Academy and was awarded First Prize in the 1982 Besançon Competition. He began his career as a clarinettist, occupying the Co-Principal chair of the Helsinki Philharmonic Orchestra. He regularly performs chamber music as a clarinettist, having been invited to La Jolla Summerfest, Seattle Chamber Music Festival, Naantali Summer Festival, Sysmä Summer Sounds, Music in Ruovesi and others. Osmo Vänskä is the recipient of a Royal Philharmonic Society Award, the Finlandia Foundation’s Arts and Letters Award, and the 2010 Ditson Award from Columbia University. He holds honorary doctorates from the universities of Glasgow and Minnesota.
JEREMY DENK piano
An artist you want to hear no matter what he performs.
© Michael Wilson
The New York Times
Jeremy Denk is one of America’s foremost pianists. Winner of a MacArthur ‘Genius’ Fellowship and the Avery Fisher Prize, he was recently elected to the American Academy of Arts and Sciences. He returns frequently to Carnegie Hall, and in recent seasons has appeared with the Chicago Symphony, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony and Cleveland orchestras, as well as on tour with the Academy of St Martin in the Fields, and at the Royal Albert Hall as part of the BBC Proms. Tonight is Jeremy Denk’s concert debut with the London Philharmonic Orchestra. Other highlights this season include performances of Bach’s Well-Tempered Klavier Book 1 at Lincoln Center in New York and at London’s Barbican, and he returns to Carnegie Hall to perform Beethoven’s Choral Fantasy with the Orchestra of St. Luke’s. He also makes his solo recital debut at the Boulez Saal in Berlin performing works by Bach, Ligeti, Berg and Schumann, and returns to the Piano aux Jacobins Festival in France, as well as to London’s Wigmore Hall ahead of his residency there in the 2020/21 season. Further performances include his debut with the Bournemouth Symphony Orchestra, and returns to the City of Birmingham Symphony Orchestra and the Piano Espoo Festival in Finland, where he will perform concertos by Bach, Mozart and Elliott Carter. Denk continues to tour the US extensively, including performances of John Adams’s Must the Devil Have all the Good Tunes? with the St. Louis Symphony and the Seattle Symphony, and play/conducting Schumann’s Piano Concerto with the St. Paul Chamber Orchestra, with whom he continues to collaborate as Artistic Partner. Other collaborations include performances of Schubert’s Winterreise with bass-baritone Eric Owens,
the complete Ives Violin Sonatas with Stefan Jackiw, and Beethoven’s Triple Concerto with his longstanding musical partners Joshua Bell and Steven Isserlis. Jeremy Denk is also known for his original and insightful writing on music, which Alex Ross praises for its ‘arresting sensitivity and wit’. He wrote the libretto for a comic opera presented by Carnegie Hall, Cal Performances and the Aspen Festival, and his writing has appeared in The New Yorker, The New Republic, The Guardian, and on the front page of the New York Times Book Review. One of his New Yorker contributions, ‘Every Good Boy Does Fine’, forms the basis of a book for future publication by Random House in the US and Macmillan in the UK. Denk’s recording of Bach’s Goldberg Variations for Nonesuch Records reached No. 1 on the Billboard Classical Charts. His recording of Beethoven’s Op. 111 Sonata paired with Ligeti’s Études was named one of the best discs of 2012 by The New Yorker, The Washington Post and NPR, and his account of the Beethoven sonata was selected by BBC Radio 3’s ‘Building a Library’ as the best available version recorded on a modern piano. Denk has a longstanding attachment to the music of Charles Ives, and his 2010 recording of the composer’s two piano sonatas also featured in many ‘best of the year’ lists. His recording c.1300-c.2000 was released in 2019, featuring music ranging from Machaut, Binchois and Gesualdo to Stockhausen, Ligeti and Philip Glass. Jeremy Denk graduated from Oberlin College, Indiana University and The Juilliard School. He lives in New York City, and his website and blog are at jeremydenk.net
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PROGRAMME NOTES 2005: POETRY AND BELIEF Tonight’s programme features three works, one apiece from German, Romanian and Polish composers: Ludwig van Beethoven’s Fourth Piano Concerto, from 1805, George Enescu’s First Symphony, from 1905, and Krzysztof Penderecki’s Chaconne in memory of John Paul II, from 2005. Each piece represents a different genre, but their emotional cores are marked by a sense of introspection and reflection, which can take the listener by surprise. Beethoven and Enescu are concerned with this inner shade in their respective
1805 The path of Beethoven’s Fourth Piano Concerto to public acceptance was not straightforward. Written in 1805–06, Beethoven was soloist and conductor (from the keyboard) at a private concert in March 1807, with the premieres of the Fourth Symphony and Coriolan Overture. The work’s public premiere – with the composer once again as soloist – took place on 22 December 1808 within a gargantuan four-hour concert alongside the Choral Fantasia, the concert aria Ah! Perfido, movements from the Mass in C and premieres of the Fifth and Sixth Symphonies. By all accounts, the performance was disastrous: many solo passages not found in the final score were added improvisatorially and some were played so forcefully that several strings broke in the fortepiano (Beethoven’s advancing deafness added to his lack of playing finesse). The orchestra was under-rehearsed, Beethoven’s conducting lacked clarity and the theatre was left unheated in a freezing Viennese winter.
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opening and middle movements, which are contrasted with more vivacious, assured writing elsewhere in their pieces. The most personal inspiration is felt in Penderecki’s poignant tribute to his compatriot Pope John Paul II. Each composer’s work is representative of them. The writing for strings and, where used, brass and timpani is noteworthy throughout, since it appeals to the ear more directly and emotionally in each successive piece. Or, as Beethoven put it, ‘music that comes from the heart and goes straight to the heart.’
Ludwig van Beethoven (1770–1827) Piano Concerto No. 4 in G major, Op. 58 Jeremy Denk piano 1 Allegro moderato 2 Andante con moto – 3 Rondo (Vivace)
Perhaps unsurprisingly, the Concerto remained unheard again in Beethoven’s lifetime. It was revived by Felix Mendelssohn in 1836 and thereafter established its seminal place in the repertoire. The opening movement’s initial utterances define the Concerto’s generally introspective nature. This differs from the extrovert character of other pieces from this time: contrast it, for example, with the Fifth Symphony’s fist-waving self-confidence. Marked Allegro moderato, the Concerto opens not with a usual and expected orchestra tutti, but a quiet introduction from the soloist, its material growing from a series of repeated chords. The orchestra responds in an alternative key. There then follows a full exploration of the themes; the first subject takes its impetus from the soloist’s repeated note opening. More is yet to come from this though, as differing musical ideas for the soloist are derived from the same source, only to be echoed in the orchestra
by various instruments. The movement’s second main theme is in a minor key, broadly written and first stated by the violins. The second movement is not especially slow, given that it is marked Andante con moto, and surely a sense of movement is important in making the music flow. The soloist noticeably engages in almost conversational exchanges with the orchestral strings. Many writers have used Franz Liszt’s contention that Beethoven had images of Orpheus in Hades in mind whilst writing the movement and claimed it as Beethoven’s most thorough instance of storytelling through instrumental
music. Despite there being no evidence of Beethoven’s thoughts to support Liszt’s view, the piano assumes the heroic role as it battles the Furies at the gates of Hell, eventually breaking through the orchestral unison with its staccato strings to present a turbulent climax that subsides into gentle harmony. The third movement, Rondo (Vivace), links directly from the preceding movement. The main theme is a march which contrasts with a number of other melodic episodes to take on the rondo form, including a cadenza, as in the opening movement, providing an opportunity for the soloist to shine.
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
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PROGRAMME NOTES CONTINUED
2005 In 1980, at the request of the trade union Solidarity, Polish composer Krzysztof Penderecki wrote a work dedicated to Lech Wałęsa, commemorating those killed in the 1970 anti-Government riots at the Gdańsk shipyards. This became the Lacrymosa of his Polish Requiem, completed in 1984 with the addition of several other movements requiring four soloists, choirs and a full orchestra. The work was premiered in that form that year and commemorates key moments and individuals in Polish history. In 1993, the Sanctus was added. Penderecki commented in 2016: ‘I did not hasten to complete the Requiem because I thought I still have something to say in this work, though it is already two hours long. But I think it is the work of my life, especially since I lived through the Second World War and this left a mark in me, which is difficult to forget.’ Later still, in 2005, Penderecki added the Chaconne in memory of his compatriot Pope John Paul II:
Krzysztof Penderecki (born 1933) Chaconne in memory of John Paul II
‘I knew Karol Wojtyla [later Pope John Paul II] for many years. We also cooperated in theatre projects during the period when Karol Wojtyla was still an actor and I considered myself his friend, so I wanted to include a piece dedicated to him in my Requiem.’ Scored solely for orchestral strings, the Chaconne wears its heart on its sleeve and typifies Penderecki’s later style. In his search for music of universal expression, the main theme is noticeably influenced by the Baroque, which leads to a series of variations. With an increasing sense of animation as the Chaconne progresses, the final variation summates the movement’s inescapably elegiac mood before concluding gently. It can be performed as a stand-alone work, as tonight, and has received several arrangements, including one by the composer for six cellos. Addressing the question of whether the Polish Requiem is finished, Penderecki has said, ‘I think it is, although I cannot exclude that I will add one or two parts in future.’
New release: Penderecki on the LPO Label Krzysztof Penderecki: Horn Concerto | Threnody for the Victims of Hiroshima Violin Concerto No. 1* | Adagio for Strings Krzysztof Penderecki conductor Michał Dworzyński conductor* Barnabás Kelemen violin Radovan Vlatković horn London Philharmonic Orchestra £9.99 | LPO-0116 Available now from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Primephonic, Idagio, Apple Music, Spotify and others.
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Profile: Krzysztof Penderecki Multi-award winning Polish composer and conductor Krzysztof Penderecki is one of the most distinguished musicians of his generation. Works like Threnody for the Victims of Hiroshima (1960), St Luke Passion (1966), Cello Concerto No. 2 (1982) written for Mstislav Rostropovich, Polish Requiem (1984), Symphony No. 3 (1995), Violin Concerto No. 2 (Metamorphosen) written for AnneSophie Mutter (1995), Symphony No. 7 (The Seven Gates of Jerusalem) (1996) and the Double Concerto (2012) written for Janine Jansen and Julian Rachlin are now considered masterworks of our time. Aside from composition, Krzysztof Penderecki has developed an outstanding career as a conductor over the years. He was guest conductor of both the NDR Elbphilharmonie and MDR Leipzig Sinfonieorchesters, Artistic Director of the Casals Festival in San Juan, Puerto Rico, and Artistic Advisor to the Beijing Music Festival. Since 2003 he has held the position of Artistic Director of the Sinfonia Varsovia. He also regularly
1905 Romanian composer George Enescu completed his First Symphony in 1905, whilst simultaneously establishing a reputation as one of the 20th century’s greatest virtuoso violinists. However, this was not his first attempt at the symphonic genre. While studying in Paris between 1895 and 1898, he completed no fewer than four ‘school’ symphonies, each tinged with an unmistakable Brahmsian influence. The key signature for his first mature symphony, E flat major, drew widespread comparisons with Beethoven’s Third,
works with the Polish National Radio Symphony Orchestra and Sinfonia Iuventus, Beethoven Academy Orchestra, Sinfonietta Cracovia and Warsaw Philharmonic Orchestra. Over the years Penderecki has garnered numerous awards both as composer and conductor – his most recent accolade was a fifth Grammy Award (2017) for Best Choral Performance (he was previously awarded in 1998, 1999, 2001 and 2013). Penderecki has held the Grand Cross for Distinguished Services of the Order of Merit in Germany and the Chevalier de Saint Georges. In 1995 he became a member of the Royal Academy of Music in Dublin, and in 1998 a member of the American Academy of Arts and Letters and the Bavarian Academy of Fine Arts in Munich. He was made Commander of the Three Star Order in Riga, Latvia in 2006 and is a member of the Order of the White Eagle in Poland. He is also an honorary doctor and honorary professor of numerous international universities.
George Enescu (1881–1955) Symphony No. 1 in E flat major, Op. 13 1 Assez vif et rythmé 2 Lent 3 Vif et vigoureux
Schumann’s Third and Bruckner’s Fourth, to name but three. However, maybe Enescu had vanquished any ghosts associated with that key signature, since it was also used for the fourth ‘school’ symphony. The First Symphony is dedicated to the Italian pianist and composer Alfredo Casella, a fellow pupil of Gabriel Fauré at the Paris Conservatoire. It was premiered by Édouard Colonne and his orchestra in Paris on 21 January 1906 alongside a performance of Berlioz’s
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PROGRAMME NOTES CONTINUED Symphonie fantastique. Enescu later commented that it produced in him the strongest emotional response as a composer, alongside the orchestral Poème roumain and his opera Oedipe. The Symphony met with universal public acclaim; it remains his most performed orchestral score after the two Romanian Rhapsodies. Its enduring appeal no doubt results from the rich vein of tonal Romanticism that runs through it. There are conflicting views about the influences that hold sway over the Symphony. Several writers claim the influence of German composers including Wagner and Brahms; others cite French influences including Berlioz, Chausson or the Belgian César Franck. In truth, though, Enescu absorbed their multifarious ideas and distilled them into his own uniquely cogent opus. Much as Franck had done in his Symphony in D minor, Enescu balances a Germanic sense of structure with a French tonal palette. Also like Franck, he disposed of the usual third-movement scherzo and instead wrote a three-movement symphony. The first movement, Assez vif et rythmé, grabs the listener with a confident, uplifting first theme, which contrasts with a more lyrical second theme. The two are developed within an intricately constructed sonata form that contains a dramatic central section. Throughout, Enescu deploys orchestral colours and textures deftly – witness his use of the triangle, cymbal and bass drum, for example. Finally, the movement concludes in a masterfully written coda. The slow second movement, Lent, is noticeably Wagnerian, akin to a nocturne inspired by Tristan und Isolde. A motif played repeatedly by the French horn is dignified and answered by the orchestra, from which the first theme emerges. With contrapuntal skill, a second theme is contrasted and developed at length, maintaining a mood of dark restraint before it finally fades with a quasi-nostalgic glance back to the horn motif with which it began. The third movement, Vif et vigoureux, is as the marking might suggest, initially vigorous in the strings, above which the melodic material is prominently constructed through a series of episodes. As the compactly constructed movement proceeds, links to the opening movement can be discerned, lending the Symphony a certain sense of closure and inevitability. In its final 14 | London Philharmonic Orchestra
pages Enescu slows the tempo and in a full grandiose recapitulation, trumpet fanfares shine forth. Programme notes © Evan Dickerson
Recommended recordings of tonight’s works by Laurie Watt Beethoven: Piano Concerto No. 4 Leif Ove Andsnes | Mahler Chamber Orchestra (Sony) Enescu: Symphony No. 1 BBC Philharmonic Orchestra Gennady Rozhdestvensky (Chandos)
More Enescu next season Wednesday 2 December 2020 | 7.30pm Royal Festival Hall
1818 2018 1918
J S Bach Orchestral Suite No. 1 Elena Kats-Chernin Piano Concerto No. 3 (European premiere) Enescu Symphony No. 3* Vladimir Jurowski conductor Tamara-Anna Cislowska piano London Philharmonic Choir Trinity Boys Choir
* Generously supported by the Romanian Cultural Institute.
On sale now: Tickets £46–£14 Premium seats £65 (transaction fees may apply) Book 020 7840 4242 | lpo.org.uk Browse the full 2020/21 season at lpo.org.uk/newseason
Whose music can be heard in Black Mirror, Twin Peaks, Wild at Heart, The Shining and The Exorcist? Get to know Polish composers at mapofcomposers.pl
The performance of Penderecki’s Chaconne in memory of John Paul II is supported in part by the Adam Mickiewicz Institute through Polska Music Programme and their partnership with LOT Polish Airlines
COME BEHIND THE SCENES
You know the London Philharmonic Orchestra for our UK concerts, our international tours, the residency at Glyndebourne, our education work and music recordings... BUT BEHIND THE WORK THAT YOU DO SEE IS A WORLD OF WORK THAT YOU DON’T. DURING OUR INCREDIBLY AMBITIOUS 2019/20 SEASON ...
2277 To deliver 20 concert performances on tour, 2277 hotel rooms will be booked.
135
To support our Young Talent schemes, LPO members will deliver 234 hours of mentoring.
7500
The LPO Library will produce an average of 65 folders of music for every concert.
560
For a single performance of Mahler’s Symphony No. 2, 3440 pages of music will be ordered – and that’s just the chorus parts.
234
Performing 54 operas at Glyndebourne will require the coordination of 135 hours of ensemble rehearsals.
65
3440
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To record key performances, more than 560 participation forms will be prepared.
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Approximately 24 hours of raw footage will be shot, edited and crafted into content for our digital platforms.
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For every rehearsal and every concert, the on-the-road team will load and unload over four tonnes of instruments and flight cases … twice.
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SOUND FUTURES DONORS We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust
The Rothschild Foundation Tom & Phillis Sharpe The Viney Family
Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar
Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous
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THANK YOU We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle Anonymous donors Mrs Aline Foriel-Destezet Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Mrs Christina Lang Assael Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Associates An anonymous donor Steven M. Berzin Kay Bryan William & Alex de Winton Hamish & Sophie Forsyth Irina Gofman and Mr Rodrik V. G. Cave Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons An anonymous donor David & Yi Buckley In memory of Allner Mavis Channing The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Geoff & Meg Mann Francis & Marie-France Minkoff Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt
Silver Patrons Ms Terri Borain Andrea d’Avack Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Rehmet Kassim-Lakha de Morixe John & Angela Kessler Jamie & Julia Korner The Metherell Family Denis & Yulia Nagy Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Andrew & Rosemary Tusa Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Mr Mark Astaire Margot Astrachan Mr Geoffrey Bateman Mrs A Beare Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil The Earl & Countess of Chichester Mr Michael Cole-Fontayn Mr John H Cook Howard & Veronika Covington Mrs Maria Danilova Guy Davies Bruno De Kegel Cameron & Kathryn Doley Jill Dyal David Ellen Ignor & Lyuba Galkin Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Eugene & Allison Hayes Ms Elena Heinz Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home Rose & Dudley Leigh
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Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Linda & Tim O’Neill Jacopo Pessina Mr Alex Petrov Mr Roger Phillimore Mr Michael Posen Mr Alex Smedley Ms Nadia Stasyuk Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Ms Jenny Watson CBE Christopher Williams Mr Anthony Yolland Principal Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Dr Manon Antoniazzi Helen Brocklebank Mr Philip Bathard-Smith Ms Phyllia Chen Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett In honour of Bea Crumbine Mr Jonathan Davies Mr Richard Fernyhough Mr Michael Fox Mr Stephen Goldring Mr Milton Grundy Mr Ian Haslegrave Michael & Christine Henry Lady Hill Mrs Maureen Hooft-Graafland Jamilya Jakisheva Per Jonsson Vadim Levin Lady Leonora, Countess of Lichfield Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Michael & Patricia MclarenTurner
Alice P. Melly Mr John Meloy Andrew T Mills Dr Karen Morton Maxim & Natalia Moskalev Mrs Jannifer Oxley Mr James Pickford Natalie Pray Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Barry & Gillian Smith Mr Bill Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Matthew Stephenson & Roman Aristarkhov Marina Vaizey Howard & Sheelagh Watson Supporters Anonymous donors Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Mr David Devons Mr Anthony Diamond Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Scott & Icy Frantz Christopher Fraser OBE Will Gold Mr Peter Gray The Jackman Family Mr & Mrs Bon Jasperson Mr David MacFarlane Peter & Isabel Malkin Mr Frederic Marguerre Mr Mark Mishon Trevor Mulineaux Dame Jane Newell DBE Bill & Jane Nickerson Mr Stephen Olton Anju & Radhika Patel
Mr David Peters Candace Procaccini Mr & Mrs Graham & Jean Pugh Mr David Russell Deb & Jay Shaw Ms Elizabeth Shaw Mr Kenneth Shaw Ms Natalie Spraggon & Mr David Thomson Mrs John E Stauffer Ronald & Davidde Strackbein Mr John Weekes Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Joyce Kan (China/Hong Kong) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA)
Thomas Beecham Group Members David & Yi Buckley The Candide Trust The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport William & Alex de Winton Donors to the 2019 Gala Player Appeal Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Natasha Tsukanova Neil Westreich Guy & Utti Whittaker We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP
Connecticut Gala Committee Bea Crumbine & Jill Dyal Co-Chairmen Rodica Brune Mandy DeFilippo Rachel Franco Nick Gutfreund Mary Hull Steve Magnuson Natalie Pray Victoria Robey OBE Lisa & Scot Weicker Corporate Donors AT&T Barclays L Catterton Paul Hastings LLP Payne Hicks Beach Pictet Bank White & Case LLP LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners After Digital Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway Villa Maria In-kind Sponsor Google Inc
Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation The London Community Foundation Lord & Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute PRS For Music Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The Steel Charitable Trust Spears-Stutz Charitable Trust The Thomas Deane Trust The Viney Family The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.
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ADMINISTRATION Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Susanne Martens* Stewart McIlwham* Pei-Jee Ng* Andrew Tusa Timothy Walker CBE AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Helen Brocklebank Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Jamie Njoku-Goodwin Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker CBE AM Laurence Watt Elizabeth Winter
General Administration Timothy Walker CBE AM Chief Executive and Artistic Director
Education and Community Isabella Kernot Education and Community Director
David Burke Chief Executive Designate
Talia Lash Education and Community Manager
Sarah Gee PA to the Chief Executive/ Office Administrator Finance Frances Slack Finance and Operations Manager Dayse Guilherme Finance Officer Concert Management Roanna Gibson Concerts Director
Emily Moss Education and Community Project Manager Hannah Tripp Education and Community Project Co-ordinator Development Laura Willis Development Director Vicky Moran Development Events Manager
Graham Wood Concerts and Recordings Manager
Christina McNeill Corporate Relations Manager
Fabio Sarlo Glyndebourne and Projects Manager
Rosie Morden Individual Giving Manager
Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Librarian Sarah Thomas Librarian Laura Kitson Stage Manager Stephen O’Flaherty Stage Manager Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator
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Anna Quillin Trusts and Foundations Manager Izzy Keig Development Assistant Lewis Hammond Development Assistant ~ Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager Alexandra Lloyd Projects and Residencies Marketing Manager Megan Macarte Box Office Manager (Tel: 020 7840 4242) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Georgie Gulliver Marketing Assistant
Public Relations Premier classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335 Archives Philip Stuart Discographer Gillian Pole Recordings Archive Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045. Cover artwork 2020 Vision visuals by Ross Shaw @ JMG Studio Printer Cantate