LPO concert programme 2 October 2013 by London Philharmonic Orchestra

Concert programme 2013/14 season Part of Southbank Centreâ&#x20AC;&#x2122;s

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Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader pieter schoeman Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Celebrating the centenary of Benjamin Britten in 2013

Programme £3 Contents

Southbank Centre’s Royal Festival Hall Wednesday 2 October 2013 | 7.30pm

Britten Prelude and Dances from The Prince of the Pagodas (33’) Suite on English Folk Tunes (A time there was) (15’) Nocturne (27’) Interval Britten Cello Symphony (34’)

2 3 4 6 7 8 9 10 13 14 15 16 17 18 19 20

Welcome Tonight’s works in context About the Orchestra On stage tonight Vladimir Jurowski Mark Padmore Truls Mørk Programme notes Nocturne text Britten on the LPO Label Programme notes continued Next concerts John Cobb, 1928–2013 Catalyst: Double Your Donation Supporters LPO administration

The timings shown are not precise and are given only as a guide.

Vladimir Jurowski conductor Mark Padmore tenor Truls Mørk cello Supported by the Britten-Pears Foundation. This concert is dedicated to the memory of John Cobb.

* supported by the Tsukanov Family Foundation and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. 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.

Southbank Centre’s The Rest Is Noise, inspired by Alex Ross’s book The Rest Is Noise Presented by Southbank Centre in partnership with the London Philharmonic Orchestra. southbankcentre.co.uk/therestisnoise The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in general and classical music in particular. Inspired by Alex Ross’s book The Rest Is Noise, we use film, debate, talks and a vast range of concerts to reveal the fascinating stories behind the century’s wonderful and often controversial music. We have brought together the world’s finest orchestras and soloists to perform many of the most significant works of the 20th century. We reveal why these pieces were written and how they transformed the musical language of the modern world. Over the year, The Rest Is Noise focuses on 12 different parts. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes. If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this. Jude Kelly Artistic Director, Southbank Centre

2 | London Philharmonic Orchestra

Tonight’s works in context

1910 1913 Benjamin Britten born in Lowestoft, Suffolk 1914 Outbreak of World War I 1916 Albert Einstein published his Theory of General Relativity

1920

1918 End of World War I 1920 Beginning of Prohibition in the USA 1922 Creation of the Soviet Union (USSR) British Broadcasting Corporation founded 1928 Alexander Fleming discovered penicillin

1930

1929 Wall Street Crash 1930 Britten began studying at the Royal College of Music in London 1932 London Philharmonic Orchestra founded by Sir Thomas Beecham Britten’s first published work, Three Two-part Songs based on poems of Walter de la Mare, published by Oxford University Press

1940

1939 Outbreak of World War II. Britten and Peter Pears travelled to North America, where they remained for the duration of the war. 1942 Britten and Pears returned to England and registered as Conscientious Objectors

1950

1945 End of World War II 1947 Britten and Pears moved to Crag House in Aldeburgh, Suffolk 1949 Orwell’s Nineteen Eighty-Four published 1953 Coronation of Queen Elizabeth II Death of Joseph Stalin 1955 Vietnam War began 1957 The Prince of the Pagodas

1960

1958 Nocturne 1960 Alfred Hitchcock’s film Psycho released 1962 Cuban Missile Crisis 1963 Cello Symphony 1967 Homosexuality decriminalised in the UK

1970

1969 Neil Armstrong became the first man on the Moon. Stonewall riots in New York 1971 Decimalisation of currency in the UK 1974 Suite on English Folk Tunes (A time there was) 1975 Microsoft founded by Bill Gates and Paul Allen 1976 Benjamin Britten died of heart failure in Aldeburgh, Suffolk

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

‘The LPO’s playing throughout was exceptional in its warmth, finesse and detail.’ The Guardian 23 January 2013, Royal Festival Hall: Webern, Schoenberg and Mahler

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the greatest names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor. Julian Anderson is the Orchestra’s current Composer in Residence.

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The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. 2013/14 highlights include a Britten centenary celebration with Vladimir Jurowski; world premieres of James MacMillan’s Viola Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin including Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s ‘Organ’ Symphony; and two concerts of epic film scores. We welcome soloists including Evelyn Glennie, Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Emanuel Ax, Leonidas Kavakos, Julia Fischer and Simon Trpčeski, and a distinguished line-up of conductors including Christoph Eschenbach, Osmo Vänskä, Vasily Petrenko, Jukka-Pekka Saraste and Stanisław Skrowaczewski. Throughout the second half of 2013 the Orchestra continues its year-long collaboration with Southbank Centre in The Rest Is Noise festival, exploring the influential works of the 20th century.

Last summer the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians and audiences through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; fusion ensemble The Band; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, digital advances and social media have enabled the Orchestra to reach even more people across the globe: all its recordings are available to download from iTunes and, as well as a YouTube channel, iPhone app and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. 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 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 and vital part of the Orchestra’s life: highlights of the 2013/14 season include visits to the USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain. The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 70 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 1 and Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Vaughan Williams’s Symphonies Nos. 5 & 7 with Bernard Haitink; and Bruckner’s Symphony No. 7 with Stanisław Skrowaczewski.

Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

John Cobb, 1928–2013 The London Philharmonic Orchestra was saddened to learn of the death of John Cobb on 22 August 2013. John was the LPO’s Orchestra Personnel Manager from 1970–96 and continued to work with the Orchestra for many years afterwards. Tonight’s concert is dedicated to his memory. A full tribute appears on page 17.

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On stage tonight

First Violins George Tudorache Guest Leader Vesselin Gellev Sub-Leader Chair supported by John & Angela Kessler

Ilyoung Chae Chair supported by Moya Greene

Ji-Hyun Lee 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 Yang Zhang Rebecca Shorrock Alina Petrenko Galina Tanney Alain Petitclerc Second Violins Annabelle Meare Guest Principal Joseph Maher Fiona Higham Ashley Stevens Marie-Anne Mairesse Nancy Elan Nynke Hijlkema Emma Wragg Caroline Simon Dean Williamson Alison Strange Sioni Williams Mila Mustakova Sheila Law

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Katherine Leek Benedetto Pollani Laura Vallejo Emmanuella Reiter Michelle Bruil Naomi Holt Isabel Pereira Alistair Scahill Daniel Cornford Cellos Kristina Blaumane Principal Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Tom Roff Helen Rathbone

Piccolos Stewart McIlwham* Principal Sue Thomas Oboes Ian Hardwick Principal Michael O’Donnell Sue Böhling Cor Anglais Sue Böhling Principal Chair supported by Julian & Gill Simmonds

Clarinets Robert Hill* Principal Nicholas Carpenter* Paul Richards E-flat Clarinet Nicholas Carpenter* Principal Bass Clarinet Paul Richards Principal

Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Helen Rowlands Tom Walley

Bassoons Gretha Tuls Guest Principal Gareth Newman* Simon Estell

Flutes Leonie Wolters Guest Principal Sue Thomas

Horns John Ryan* Principal David Pyatt* Principal

Chair supported by the Sharp Family

Stewart McIlwham*

Contrabassoon Simon Estell Principal

Chair supported by Simon Robey

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

D Trumpet Nicholas Betts Co-Principal Trombones Mark Templeton* Principal David Whitehouse Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar Ignacio Molins Martin Owen Richard Horne Harp Rachel Masters* Principal Chair supported by Friends of the Orchestra

Piano Catherine Edwards Assistant Conductor Gerry Cornelius * Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose player is not present at this concert: David & Victoria Graham Fuller

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Vladimir Jurowski

Principal Conductor and Artistic Advisor

One of today’s most sought-after and dynamic conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow, and completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany, continuing his studies at the High Schools of Music in Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming the Orchestra’s Principal Conductor in September 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has also held the positions of First Kapellmeister of the Komische Oper, Berlin (1997– 2001); Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03); Principal Guest Conductor of the Russian National Orchestra (2005–09); and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir Jurowski has appeared on the podium with many leading orchestras in Europe and North America including the Berlin and Vienna Philharmonic orchestras, the Royal Concertgebouw Orchestra, The Philadelphia Orchestra, the Boston and Chicago symphony orchestras, the Tonhalle-Orchester Zürich, the Gewandhausorchester Leipzig, and the Staatskapelle Dresden. Highlights of the 2013/14 season and beyond include his debuts with the New York Philharmonic, NHK Symphony (Tokyo) and San Francisco Symphony orchestras; tours with the Chamber Orchestra of Europe and the Mahler Chamber Orchestra; and return visits to the Chicago Symphony, Berlin Radio Symphony, Cleveland and Philadelphia orchestras, and the Accademia Nazionale di Santa Cecilia.

Jurowski made his debut at the Metropolitan Opera, New York, in 1999 with Rigoletto, and has since returned for Jenůfa, The Queen of Spades and Hansel and Gretel. He has conducted Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opera National de Paris; Eugene Onegin at Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and Iolanta and Die Teufel von Loudon at the Dresden Semperoper, as well as The Magic Flute, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen, Ariadne auf Naxos and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera. This autumn he returns to the Metropolitan Opera for Die Frau ohne Schatten, and future engagements include Moses und Aron at the Komische Oper Berlin and The Fiery Angel at the Bayerische Staatsoper in Munich. Jurowski’s discography includes the first ever recording of the cantata Exil by Giya Kancheli for ECM; Meyerbeer’s L’étoile du Nord for Marco Polo; Massenet’s Werther for BMG; and a series of records for PentaTone with the Russian National Orchestra. The London Philharmonic Orchestra has released a wide selection of his live recordings on its LPO Live label, including Brahms’s Symphonies Nos. 1 and 2; Mahler’s Symphonies Nos. 1 and 2; Rachmaninoff’s Symphonic Dances; Tchaikovsky’s Symphonies 1, 4, 5, 6 and Manfred; and works by Turnage, Holst, Britten, Shostakovich, Honegger and Haydn. His tenure as Music Director at Glyndebourne has been documented in CD releases of La Cenerentola, Tristan und Isolde and Prokofiev’s Betrothal in a Monastery, and DVD releases of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus, Die Meistersinger von Nürnberg, Don Giovanni and Rachmaninoff’s The Miserly Knight. Other DVD releases include Hansel and Gretel from the Metropolitan Opera; his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler; and DVDs with the Orchestra of the Age of Enlightenment (Beethoven’s Symphonies Nos. 4 and 7) and the Chamber Orchestra of Europe (Strauss and Ravel), all released by Medici Arts. Vladimir Jurowski’s position as Principal Conductor and Artistic Advisor of the London Philharmonic Orchestra is generously supported by the Tsukanov Family Foundation and one anonymous donor.

London Philharmonic Orchestra | 7

Mark Padmore tenor

cycles there with Paul Lewis. He also recently performed the cycles at the Theatre an der Wien and at Salle Gaveau in Paris with Till Fellner.

He has established a flourishing career in opera, concert and recital. His performances in Bach’s Passions have gained particular notice throughout the world.

Mark has made many recordings including the Bach Passions with Philippe Herreweghe and Paul McCreesh, Bach Cantatas with Sir John Eliot Gardiner and Philippe Herreweghe, Haydn Masses with Richard Hickox, Mozart’s Don Giovanni with Daniel Harding, and operas by Rameau and Charpentier with William Christie. His disc of Handel arias, As Steals the Morn, with The English Concert and Andrew Manze on Harmonia Mundi, won the BBC Music magazine Vocal Award in April 2008. Other releases include Haydn’s The Creation for Deutsche Grammophon; Handel’s Messiah with Sir Colin Davis and the London Symphony Orchestra; Britten’s Winter Words with Roger Vignoles; Schubert’s Schwanengesang, Die schöne Müllerin and Winterreise with Paul Lewis for Harmonia Mundi, which won the Gramophone magazine Vocal Solo Award for 2010; and Schumann’s Dichterliebe with Kristian Bezuidenhout, which won the Vocal Solo category of the 2011 Edison Klassiek Awards.

Mark Padmore was born in London and grew up in Canterbury. After beginning his musical studies on the clarinet, he gained a choral scholarship to King’s College, Cambridge, and graduated with an honours degree in music.

In the opera house he has worked with directors Peter Brook, Katie Mitchell, Mark Morris and Deborah Warner. Recent appearances include the leading role in Harrison Birtwistle’s opera The Corridor with performances at the 2009 Aldeburgh and Bregenz Festivals, as well as at the Southbank Centre in London; Tom Rakewell in Stravinsky’s The Rake’s Progress at La Monnaie, Brussels; Handel’s Jephtha at English National Opera and Welsh National Opera; and the Evangelist in Bach’s St Matthew Passion at Glyndebourne Festival Opera. He played Peter Quint in an acclaimed BBC TV production of Britten’s Turn of the Screw and recorded the title role in Mozart’s La clemenza di Tito with René Jacobs for Harmonia Mundi. In 2013 he appeared as Captain Vere in Britten’s Billy Budd at Glyndebourne. In concert, Mark has performed with many of the world’s leading orchestras including the Munich Radio, Berlin, Vienna, New York and London Philharmonic orchestras, the Royal Concertgebouw Orchestra, the Boston and London symphony orchestras, and the Philharmonia Orchestra. He makes regular appearances with the Orchestra of the Age of Enlightenment, with whom he has conceived projects exploring Bach’s St John Passion and St Matthew Passion. Mark has given recitals in Amsterdam, Barcelona, Brussels, Madrid, Milan, Moscow, New York, Paris and Vienna. He appears frequently at London’s Wigmore Hall, where he first sang all three Schubert song-cycles in May 2008. He was the Hall’s Artist in Residence in the 2009/10 season, and in 2011/12 repeated the Schubert 8 | London Philharmonic Orchestra

Composers who have written for Mark Padmore include Mark-Anthony Turnage, Alec Roth, Sally Beamish, Thomas Larcher and Huw Watkins. As well as his regular collaborators Paul Lewis, Till Fellner, Kristian Bezuidenhout, Julius Drake, Roger Vignoles, Simon Lepper and Andrew West, he works with many internationally renowned chamber musicians including Imogen Cooper and Steven Isserlis.

Mark is Artistic Director of the St Endellion Summer Music Festival in Cornwall.

Truls Mørk

cello

Truls Mørk’s compelling performances, combining fierce intensity, integrity and grace, have established him as one of the most pre-eminent cellists of our time. He has appeared with orchestras including the Orchestre de Paris, Staatskapelle Dresden, and the Rotterdam Philharmonic, New York Philharmonic, Boston Symphony, Chicago Symphony and Cleveland orchestras, amongst others. Conductor collaborations include Myung-Whun Chung, Mariss Jansons, Esa-Pekka Salonen, Sir Simon Rattle, Gustavo Dudamel and Christoph Eschenbach. Forthcoming highlights include concerts with the Berlin Philharmonic under Alan Gilbert; the Philharmonia Orchestra under Jakub Hrůša; the Vienna Symphony and Czech Philharmonic orchestras, both with James Gaffigan; the hr-Sinfonieorchester under David Zinman; and the Munich Philharmonic under Lionel Bringuier. Truls Mørk will tour with the Royal Concertgebouw Orchestra and Mariss Jansons to London and Paris, and perform Brahms’s Double Concerto with Vadim Repin and the Orchestre de la Suisse Romande under Neeme Järvi. In North America, Mørk recently took part in the 2013 Mostly Mozart Festival under David Afkham. He will appear with the Montreal Symphony Orchestra under Kent Nagano, as well as returning to The Philadelphia Orchestra under Yannick Nézet-Séguin including a performance at Carnegie Hall. Mørk will return to both the Melbourne and Sydney symphony orchestras in 2014, followed by a European tour with the Melbourne Symphony Orchestra under Sir Andrew Davis.

A committed performer of contemporary music, in April 2012 Truls Mørk gave the UK premiere of Einojuhani Rautavaara’s Towards the Horizon with the BBC Symphony Orchestra. Other premieres have included Pavel Haas’s Cello Concerto with the Vienna Philharmonic under Jonathan Nott, Krzysztof Penderecki’s Concerto for Three Cellos with the NHK Symphony Orchestra under Charles Dutoit, and Hafliði Hallgrímsson’s Cello Concerto, co-commissioned by the Oslo Philharmonic, Iceland Symphony and Scottish Chamber orchestras. Rautavaara’s Towards the Horizon was recorded for Ondine with the Helsinki Philharmonic Orchestra under John Storgårds and nominated for a Grammy Award. Mørk’s highly acclaimed recording of the CPE Bach Cello Concertos for Virgin Classics with Les Violons du Roy under Bernard Labadie won a 2011 ECHO Klassik Award. Other recordings include the Brahms Double Concerto with the Gewandhausorchester Leipzig and Vadim Repin under Riccardo Chailly for Deutsche Grammophon, and Hallgrímsson’s works for cello and orchestra for Ondine. For Virgin Classics he has also recorded Schumann’s Cello Concerto with Paavo Järvi and the Orchestre Philharmonique de Radio France, the complete Bach Cello Suites, and the Britten Cello Suites, which won a Grammy Award in 2002. Initially taught by his father, Truls Mørk continued his studies with Frans Helmerson, Heinrich Schiff and Natalia Schakowskaya. His numerous awards include the Norwegian Critics’ Prize in 2011 and the 2010 Sibelius Prize. He plays the rare 1723 Domenico Montagnana ‘Esquire’.

Truls Mørk continues to give regular recitals at major venues and festivals throughout the world. As part of the 2011 Bergen International Festival he performed the complete Beethoven Cello Sonatas over two evenings, together with the Variations for Cello and Piano – last presented at the Festival in this format by Jacqueline du Pré in 1970.

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Programme notes

Benjamin Britten 1913–76 In 1949 the composer Grace Williams reproved her friend Benjamin Britten for writing so little for large orchestra. ‘I like to write for what is handy,’ he responded ‘and don’t call one performance every five years under Boult or Sargent “handy” – do you?’ Britten’s animosity towards Adrian Boult dated from his adolescence, when with almost masochistic glee he listened to Boult’s performances or recordings and dissected them with a pretty blunt knife. Malcolm Sargent inspired no greater confidence, and his preening turn in the 1946 film premiere of The Young Person’s Guide to the Orchestra initiated no rapprochement. It wasn’t simply the conductors, however: in the 1930s and 1940s, Britten thought the standard of orchestral playing in his homeland poor, an impression reinforced when he experienced first-class playing in Vienna before the war and America during it. So he really did write for what was handy: the chamber-orchestra nucleus of the English Opera Group; the singers, Peter Pears included, whose music-making he admired; the skilled instrumentalists such as Dennis Brain or William Primrose, whose virtuosity never disguised their sheer musicality. None-too-optimistic about the potential of the new opera company at Covent Garden, Britten threw his weight behind his own ventures – his opera company and festival, and his recital partnership with Pears – as a way of controlling supply and influencing demand. Covent Garden did its best to lure Britten into the family, the persistent David Webster (and later John Tooley) offering orchestral and financial resources far beyond the scope of Britten’s own opera company and festival. Webster succeeded in 1951 (Billy Budd) and again in 1953 (Gloriana), yet the relative failure of both operas at the time – and Pears’s broadside after Gloriana about his partner making himself vulnerable in front of an unsympathetic, metropolitan audience – left Britten wary of Covent Garden, and indeed of London itself.

Benjamin Britten Prelude and Dances from The Prince of the Pagodas, Op. 57 (1957) 1 Prelude 2 March and Gavotte 3 The Four Kings: The King of the North The King of the East The King of the West The King of the South 4 Belle Épine and Belle Rose 5 Variations of the Prince and Belle Rose 6 Finale

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It was out of character for Britten, a matter of months after the Gloriana fiasco, to begin plotting a largescale ballet with John Cranko, who had choreographed the dance scenes in Gloriana. Early the following year Covent Garden proudly if prematurely announced the new work. Cranko’s scenario concerns an ageing emperor with two daughters, one virtuous, the other evil. Kings from the four quarters come to court this evil daughter, after which magical frogs transport the kind, younger daughter to Pagoda Land. There she encounters

a giant salamander, a prince in disguise, who captures her imagination. Transformed into human form, the prince returns the woman to her family, where they claim the throne. It is a slight story, yet Britten, a copy of the score of Tchaikovsky’s Swan Lake by his side, thought it sufficient; he was always good at episodic form, after all, which this scenario necessitated. Britten depicted Pagoda Land with the sounds he encountered in Bali in 1956, the ballet stalled, his enthusiasm for the project waning. The large percussion section clanks and chimes, emulating the sounds of gamelan that so captivated him on his Asian holiday. The emperor’s palace is depicted in regal fanfares, which blast throughout the Finale, while the four kings are

given music of startling different character, sometimes menacing, sometimes effete. Notwithstanding the ballet’s fantastical plot, Pagodas is a compelling series of character studies, the great opera composer Britten expertly creating mood and intent without recourse to dialogue. Britten told Edith Sitwell that his setting of her famous poem ‘Still Falls the Rain’, which he completed while working on Pagodas, represented a departure in style and scale; he now sought a greater intimacy in his music, paring it down as much as possible, rooting out any extraneous material. Pagodas had different requirements, and Britten fulfilled them ably, but he was now off exploring a more barren terrain.

Benjamin Britten Suite on English Folk Tunes (A time there was), Op. 90 (1974) 1 2 3 4 5

Cakes and Ale The Bitter Withy Hankin Booby Hunt the squirrel Lord Melbourne

Desperately unwell following an unsuccessful heart operation in May 1973, which stalled his work and put an end to his performing, Britten eased himself back into composing by revising a number of early pieces. But in 1974, finally admitting to himself that he would never recover, he began composing original music once more, completing two outstanding pieces, Canticle V (The Death of Saint Narcissus) and a Suite on English Folk Tunes. He subtitled the latter ‘A time there was’, a line from the last song in his song-cycle of 1953, Winter Words, and the Suite does hanker after happier times. This is never more obvious than in the Mahlerian final movement, an arrangement of the folksong ‘Lord Melbourne’, a cor anglais creating the same wistful effect it produces in Nocturne. Yet the Suite is also full of vigour and spirit, strange sonorities encasing wild folk dances, almost as if Britten wanted to prove both to himself and the world that his talent and vision were

undiminished. This was no empty boast: the scores from Britten’s final two years demonstrate a level of creativity that belies his illness and underlines precisely what was lost by his premature death.

New for 2013/14 – LPO mini film guides For our 2013/14 season we’ve produced a series of short films introducing the pieces we’re performing. We’ve picked one work from each concert and created a bite-sized introduction to the music and its historical background. Watch our Education & Community Director Patrick Bailey introduce the Suite on English Folk Tunes: lpo.org.uk/explore/videos.html

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Programme notes continued

Benjamin Britten Nocturne, Op. 61 (1958)

Mark Padmore tenor

for tenor, seven obbligato instruments and strings

1 On a poet’s lips I slept Prometheus Unbound by Percy Bysshe Shelley 2 Below the thunders of the upper deep The Kraken by Lord Alfred Tennyson 3 Encinctured with a twine of leaves The Wanderings of Cain by Samuel Taylor Coleridge 4 Midnight’s Bell Blurt, Master Constable by Thomas Middleton 5 But that night when on my bed I lay The Prelude by William Wordsworth 6 She sleeps on soft, last breaths The Kind Ghosts by Wilfred Owen 7 What is more gentle than a wind in summer? Sleep and Poetry by John Keats 8 When most I wink, then do mine eyes best see Sonnet 43 by William Shakespeare Nocturne was one of the first orchestral fruits of the new style Britten wrote about to Edith Sitwell in the mid-1950s, a dark coda to the generally more optimistic orchestral cycle for Pears of 15 years earlier, Serenade, for tenor, horn and strings. The two works share certain aspirations – Britten in each populating an English pastoral landscape with troubling, out-of-place characters, each work evoking a netherworld of night and dreams – but there is a complex, glossy blackness in Nocturne that Serenade cannot equal. Each obbligato instrument is bound tightly into the string texture, playing against type – the horn mewling like a cat or chiming like a clock in Middleton’s ‘Midnight’s Bell’ – or according to type – the timpani thumping their way through Wordsworth’s ‘But that night when on my bed I lay’, a frightening evocation of the September Massacres, a particularly low point of the French Revolution. Britten’s setting of Wilfred Owen’s ‘The Kind Ghosts’ is a rehearsal for his War Requiem of only four years later, the cor anglais

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obbligato lifted from Mahler’s ‘Der Tamboursg’sell’. Yet unlike Mahler’s poor, condemned drummer boy, who knows his tragic fate, Owen’s kind ghosts seem bewildered, unable even to penetrate the dreams of the girls who should be mourning them instead of sleeping so easily. These ghosts also seem to have none of the bitterness and skepticism of the young recruits who trudge their way through the War Requiem, their mood in life dark, their incomprehension in death all too evident. Shakespeare’s ‘Fair Youth’ Sonnet 43, probably written for the striking Henry Wriothesley, 3rd Earl of Southampton, is the perfect, ambiguous coda to the dark settings that precede it. In it Britten binds together the seven obbligato instruments, creating a movement of cumulative power that ends on a whisper: ‘All days are nights to see till I see thee/And nights bright days when dreams do show thee me.’

Britten: Nocturne

1 On a poet’s lips I slept On a poet’s lips I slept Dreaming like a love-adept In the sound his breathing kept; Nor seeks nor finds he mortal blisses, But feeds on the aëreal kisses Of shapes that haunt thought’s wildernesses. He will watch from dawn to gloom The lake-reflected sun illume The yellow bees in the ivy-bloom, Nor heed nor see, what things they be; But from these create he can Forms more real than living man, Nurslings of immortality!

2 Below the thunders of the upper deep Below the thunders of the upper deep; Far, far beneath in the abysmal sea, His ancient, dreamless, uninvaded sleep The Kraken sleepeth: faintest sunlights flee About his shadowy sides: above him swell Huge sponges of millennial growth and height; And far away into the sickly light, From many a wondrous grot and secret cell Unnumber’d and enormous polypi Winnow with giant arms the slumbering green. There hath he lain for ages and will lie Battening upon huge seaworms in his sleep, Until the latter fire shall heat the deep; Then once by men and angels to be seen, In roaring he shall rise and on the surface die.

3 Encinctured with a twine of leaves Encinctured with a twine of leaves, That leafy twine his only dress! A lovely Boy was plucking fruits, By moonlight, in a wilderness. The moon was bright, the air was free, And fruits and flowers together grew On many a shrub and many a tree: And all put on a gentle hue, Hanging in the shadowy air Like a picture rich and rare. It was a climate where, they say,

The night is more beloved than day. But who that beauteous Boy beguiled, That beauteous Boy to linger here? Alone, by night, a little child, In place so silent and so wild – Has he no friend, no loving mother near?

4 Midnight’s Bell Midnight’s bell goes ting, ting, ting, ting, ting, Then dogs do howl, and not a bird does sing But the nightingale, and she cries twit, twit, twit; Owls then on every bough do sit; Ravens croak on chimneys’ tops; The cricket in the chamber hops; The nibbling mouse is not asleep, But he goes peep, peep, peep, peep, peep; And the cats cry mew, mew, mew, And still the cats cry mew, mew, mew.

5 But that night when on my bed I lay But that night When on my bed I lay, I was most mov’d And felt most deeply in what world I was; With unextinguish’d taper I kept watch, Reading at intervals; the fear gone by Press’d on me almost like a fear to come; I thought of those September Massacres, Divided from me by a little month, And felt and touch’d them, a substantial dread: The rest was conjured up from tragic fictions, And mournful calendars of true history, Remembrances and dim admonishments. ‘The horse is taught his manage, and the wind Of heaven wheels round and treads in his own steps, Year follows year, the tide returns again, Day follows day, all things have second birth; The earthquake is not satisfied at once.’ And in such way I wrought upon myself, Until I seem’d to hear a voice that cried To the whole city, ‘Sleep no more’.

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Britten: Nocturne continued

6 She sleeps on soft, last breaths

8 When most I wink, then do mine eyes best see

She sleeps on soft, last breaths; but no ghost looms Out of the stillness of her palace wall, Her wall of boys on boys and dooms on dooms.

When most I wink, then do mine eyes best see, For all the day they view things unrespected; But when I sleep, in dreams they look on thee, And darkly bright, are bright in dark directed. Then thou, whose shadow shadows doth make bright, How would thy shadow’s form form happy show To the clear days with thy much clearer light, When to unseeing eyes thy shade shines so? How would, I say, mine eyes be blessed made By looking on thee in the living day, When in dead night thy fair imperfect shade Through heavy sleep on sightless eyes doth stay? All days are nights to see till I see thee, And nights bright days when dreams do show thee me.

She dreams of golden gardens and sweet glooms, Not marvelling why her roses never fall Nor what red mouths were torn to make their blooms. The shades keep down which well might roam her hall. Quiet their blood lies in her crimson rooms And she is not afraid of their footfall. They move not from her tapestries, their pall, Nor pace her terraces, their hecatombs, Lest aught she be disturbed, or grieved at all.

7 What is more gentle than a wind in summer? What is more gentle than a wind in summer? What is more soothing than the pretty hummer That stays one moment in an open flower, And buzzes cheerily from bower to bower? What is more tranquil than a musk-rose blowing In a green island, far from all men’s knowing? More healthful than the leafiness of dales? More secret than a nest of nightingales? More serene than Cordelia’s countenance? More full of visions than a high romance? What, but thee, Sleep? Soft closer of our eyes! Low murmurer of tender lullabies! Light hoverer around our happy pillows! Wreather of poppy buds, and weeping willows! Silent entangler of a beauty’s tresses! Most happy listener! when the morning blesses Thee for enlivening all the cheerful eyes That glance so brightly at the new sun-rise.

Britten on the LPO Label

War Requiem Kurt Masur conductor Christine Brewer soprano Anthony Dean Griffey tenor Gerald Finley baritone LPO-0010 | £14.99 (2CD set)

Double Concerto; Variations on a Theme of Frank Bridge; Les Illuminations Vladimir Jurowski conductor Sally Matthews soprano Pieter Schoeman violin Alexander Zemtsov viola LPO-0037 | £9.99 (1CD)

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), all good CD outlets and the Royal Festival Hall shop.

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

14 | London Philharmonic Orchestra

Programme notes continued

Benjamin Britten Cello Symphony, Op. 68 (1963)

1 2 3 4

Truls Mørk cello

Allegro maestoso Presto inquieto Adagio – Cadenza ad lib. Passacaglia: Andante allegro

The participation of Galina Vishnevskaya, Rostropovich’s wife, in the recording of the War Requiem in January 1963 indicated a thaw in relations between Britten and the icy Madame Furtseva, Soviet Minister of Culture, who had denied Vishnevskaya permission to perform in the premiere. Thus in March the same year Britten participated in the Festival of British Musical Art, a creaky Cold War puppet show hinting at Anglo-Soviet co-operation, held in Leningrad and Moscow. Britten had intended a large-scale orchestral work for his new friend and muse, Mstislav Rostropovich, whom he had encountered quite by chance in 1960 at a London concert. Captivated by the cellist’s easy virtuosity and warm personality, Britten promised him a series of new works, their developing friendship unhindered by the primitive German with which they communicated. A skilled string player, Britten threw himself into the task, exploring the contrapuntal possibilities of this mostly monophonic instrument. Sickness and despondency hindered the completion of the largest of these works, the Cello Symphony of 1963, and delayed its premiere by a year. Though difficult to imagine, the Cello Symphony is even darker than Nocturne. This was the decade in which Britten, startled by the very public success of the War Requiem, retreated into the world he had created for himself in Aldeburgh: the large secluded house serviced by domestic help; musical assistants and secretaries; a visionary manager of the festival, Stephen Reiss. The works became barer still, their mood bleaker.

‘How few notes there are in Britten’s compositions,’ Rostropovich wrote a few months before the Cello Symphony’s premiere, ‘yet how much thought and feeling!’ Britten approached the work almost as an anticoncerto. There are flashes of his old self – the scherzo could have been written in the 1930s, Britten giddy on the fast skirmishes he found himself able to conjure from large orchestras – but mostly this is a meditative piece, the cello augmenting the symphonic argument with quiet poise, never empty virtuosity. There are moments of spectacular theatricality, however, such as the harmonic strings in the Adagio, an accompaniment to the cello as it plays a folk-like tune, offset by a strange, otherworldly horn melody. And there is a cello cadenza that gives way to a beautiful passacaglia – much as the soloist does in Britten’s much earlier Violin Concerto – built on the same folk-like melody. Footage taken inside the Great Hall of the Moscow Conservatory at the work’s premiere shows young Muscovites stunned by the dark, dreamlike sounds Britten magicked from his musicians. Programme notes by Paul Kildea © 2013 Paul Kildea is a conductor and writer. Penguin Press published his book Benjamin Britten: A Life in the Twentieth Century earlier this year.

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Next LPO concerts at Royal Festival Hall

Saturday 26 October 2013 | 7.30pm Dutilleux Tout un monde lointain Shostakovich Symphony No. 13 (Babi Yar)

Saturday 12 October 2013 | 7.30pm Britten War Requiem Vladimir Jurowski conductor Tatiana Monogarova soprano Ian Bostridge tenor Matthias Goerne baritone Neville Creed conductor (chamber orchestra) London Philharmonic Choir Trinity Boys Choir

Free pre-concert events 2.00–3.00pm and 4.00–5.00pm The Clore Ballroom at Royal Festival Hall The LPO and Southbank Centre present Britten’s moving setting of the Chester Miracle play Noye’s Fludde, conducted by Benjamin Ellin. 6.00–6.45pm Royal Festival Hall Musicians from the Royal College of Music perform Britten’s Les illuminations and Variations on a Theme of Frank Bridge.

Yannick Nézet-Séguin conductor Jean-Guihen Queyras cello Mikhail Petrenko bass Gentlemen of the London Philharmonic Choir

Wednesday 30 October 2013 | 7.30pm Ligeti Lontano Lutosławski Cello Concerto* Schnittke Symphony No. 1 Michail Jurowski conductor Johannes Moser cello * Generously supported by the Adam Mickiewicz Institute as part of the Polska Music programme – Centenary of Witold Lutosławski 2013.

Free pre-concert event 6.00–6.45pm | Royal Festival Hall Professor Alexander Ivashkin plays cello works by Lutosławski and Schnittke, and uses unpublished correspondence between them to explore their personal relations.

Wednesday 23 October 2013 | 7.30pm Poulenc Piano Concerto Prokofiev Symphony No. 7 Poulenc Stabat mater

Booking details Tickets £9–£39 (premium seats £65)

Yannick Nézet-Séguin conductor Alexandre Tharaud piano Kate Royal soprano London Philharmonic Choir

London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Dr Caroline Potter from Kingston University looks at the life and works of Francis Poulenc.

Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk

16 | London Philharmonic Orchestra

Transaction fees: £1.75 online, £2.75 telephone

Transaction fees: £1.75 online, £2.75 telephone No transaction fee for bookings made in person

John Cobb 3 November 1928 – 22 August 2013

After a long battle against cancer, John Cobb died on 22 August 2013. John was the product of a Salvation Army musical family, where he started playing the trombone at an early age. At the age of 18 he joined the RAF Central Band, becoming a well-known soloist on the concert bandstand and the radio. He was also a member of the International Staff Band of the Salvation Army in his leisure time. John won a scholarship to the Royal College of Music, and in 1956 joined the Orchestra of the Royal Opera House at Covent Garden. As sometimes happens with brass players, he developed an embouchure problem, and in the mid-1960s moved into orchestral personnel management. After short periods with the London Symphony Orchestra (Assistant Manager) and English National Opera, in 1968 he moved to the Bournemouth Symphony Orchestra. In 1970 he returned to London and became the Orchestral Personnel Manager for the London Philharmonic Orchestra. He spent a long spell of more than 25 years in this role, which he described as the happiest days of his working life. In 1996 he formally retired but continued his close connection with his friends at the LPO through involvement with the Youth Orchestra and as an occasional stand-in for his successor, Andrew Chenery. John was a real ‘people person’. Those he met never forgot the experience. He had a unique way of making you feel that what you were doing was the most important thing to him at that moment. Many people, both in the music business and outside it, will remember him with both fondness, and sadness, on his death.

Memories from John’s LPO colleagues ‘John was for so many players, conductors and soloists the face of the LPO. As a former trombonist he knew all the elements that go together to make a happy orchestra. John had the ‘gift of the gab’ and could make everyone he talked to feel at ease. He also had style, always immaculately turned out, and for many, the sight of him driving his beautiful ‘Old English White’ 1966 MGB GT will be the memory of him that’s most vivid.’ Andrew Chenery, LPO Orchestra Personnel Manager, 1996– ‘One of my abiding memories of John is the regular sight of him, towards the end of long intervals at Glyndebourne, with bow tie on and white shirtsleeves rolled up, elbow-deep in a coolbox full of fish that Laurie Evans and I had caught during the day! His office temporarily became a fishmongers as he distributed our surplus catch to orchestra colleagues. Whenever I saw him after his retirement, the first thing he would always say to me was “Alright pal, have you got any mackerel for me?”!’ Paul Beniston, LPO Principal Trumpet

From the Orchestra’s former Principal Conductor Bernard Haitink: ‘I have such good memories of our working together in the old LPO days. I never had a better personnel manager before or since, in all the orchestras I worked with. You kept them all in line … with a kind word and a smile, and they all liked you and respected you. And as for me, you calmed me down and cheered me up very often with a quiet word and a joke. But you were utterly professional at the same time.’ Extract from a letter from Bernard Haitink to John Cobb earlier this year

Eddie Ashton London Philharmonic Orchestra | 17

Catalyst: Double Your Donation

The London Philharmonic Orchestra is building its first ever endowment fund, which will support the most exciting artistic collaborations with its partner venues here in London and around the country. Thanks to a generous grant pledge from Arts Council England’s Catalyst programme, the Orchestra is able to double the value of all gifts from new donors up to a maximum value of £1 million. Any additional gifts from existing generous donors will also be matched. By the end of the campaign we aim to have created an endowment with a value of £2 million which will help us work with partners to provide a funding injection for activities across the many areas of the Orchestra’s work, including: • More visionary artistic projects like The Rest Is Noise at Southbank Centre • Educational and outreach activities for young Londoners like this year’s Noye’s Fludde performance project • Increased touring to venues around the UK that might not otherwise have access to great orchestral music To give, call Development Director Nick Jackman on 020 7840 4211, email support@lpo.org.uk or visit www.lpo.org.uk/support/double-your-donation.html

Catalyst Endowment Donors Masur Circle

Pritchard Donors

Emmanuel & Barrie Roman The Sharp Family The Underwood Trust

Anonymous Lady Jane Berrill Linda Blackstone Michael Blackstone Jan Bonduelle Richard Brass Britten-Pears Foundation Lady June Chichester Lindka Cierach Mr Alistair Corbett Mark Damazer David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust John Hunter Ivan Hurry Tanya Kornilova Howard & Marilyn Levene Mr Gerald Levin

Welser-Möst Circle John Ireland Charitable Trust Tennstedt Circle Simon Robey Solti Patrons Anonymous Suzanne Goodman The Rothschild Foundation Haitink Patrons Moya Greene Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Sir Bernard Rix The Tsukanov Family Foundation Manon Williams

18 | London Philharmonic Orchestra

Geoff & Meg Mann Ulrike Mansel Marsh Christian Trust John Montgomery Rosemary Morgan John Owen Edmund Pirouet Mr Michael Posen John Priestland Ruth Rattenbury Tim Slorick Howard Snell Stanley Stecker Lady Marina Vaizey Helen Walker Laurence Watt Des & Maggie Whitelock Victoria Yanakova Mr Anthony Yolland

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Anonymous Simon Robey The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Moya Greene John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Manon Williams & John Antoniazzi Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook David Ellen

Commander Vincent Evans Mr Daniel Goldstein Don Kelly & Ann Wood Peter MacDonald Eggers Mr & Mrs David Malpas Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Anthony Yolland Benefactors Mrs A Beare Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett William and Alex de Winton Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry Malcolm Herring Ivan Hurry

Mr Glenn Hurstfield Mr R K Jeha Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Andrew T Mills John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Professor John Studd Mr Peter Tausig Mrs Kazue Turner Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members

Trusts and Foundations

Silver: AREVA UK British American Business Carter Ruck Thomas Eggar LLP

Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Embassy of Spain, Office for Cultural and Scientific Affairs The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust Marsh Christian Trust Mayor’s Fund for Young Musicians

Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets

Adam Mickiewicz Institute The Peter Minet Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The Ann and Frederick O’Brien Charitable Trust PRS for Music Foundation The R K Charitable Trust Serge Rachmaninoff Foundation The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust Sir Siegmund Warburg’s Voluntary Settlement Garfield Weston Foundation Youth Music and others who wish to remain anonymous

London Philharmonic Orchestra | 19

Administration

Board of Directors Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams * Player-Director Advisory Council Victoria Sharp Chairman Christopher Aldren Richard Brass Sir Alan Collins KCVO CMG Lord David Curry Andrew Davenport Jonathan Dawson Christopher Fraser OBE Lord Hall of Birkenhead CBE Clive Marks OBE FCA Stewart McIlwham Baroness Shackleton Lord Sharman of Redlynch OBE Martin Southgate Sir Philip Thomas Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Peter M. Felix CBE Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Sharp Hon. Director

Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Orchestra Personnel

Public Relations

Andrew Chenery Orchestra Personnel Manager

Albion Media (Tel: 020 3077 4930)

Chief Executive

Sarah Thomas Librarian (maternity leave)