London Philharmonic Orchestra 30 January 2016 concert programme by London Philharmonic Orchestra

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

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

Southbank Centre’s Royal Festival Hall Saturday 30 January 2016 | 7.30pm

Beethoven Symphony No. 6 (Pastoral) (40’) Interval Alexander Raskatov Green Mass (world premiere) (65’) Commissioned by the London Philharmonic Orchestra

Vladimir Jurowski conductor

Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Elena Vassilieva Iestyn Davies 8 Mark Padmore Nikolay Didenko 9 Choir of Clare College, Cambridge 10 Programme notes 13 Alexander Raskatov 14 Next concerts 15 Shakespeare400 16 Recent LPO CD releases 18 Sound Futures donors 19 Supporters 20 LPO administration The timings shown are not precise and are given only as a guide.

Elena Vassilieva soprano Iestyn Davies countertenor Mark Padmore tenor Nikolay Didenko bass Choir of Clare College, Cambridge

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Alexander Raskatov discusses the world premiere of his Green Mass.

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

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Orchestra news

2016/17 season now announced Details of next season's LPO concerts are now available. Browse the new season brochure online at lpo.org.uk or look out for your copy in the post in early February. Booking opens on Thursday 11 February (online and via the LPO Box Office only). To take advantage of priority booking (from Tuesday 2 February), become a Friend of the London Philharmonic Orchestra for as little as £50 a year. Call Helen Yang on 020 7840 4225 or visit lpo.org.uk/support/memberships

LPO on tour The Orchestra recently returned from a tour to the Canary Islands where we performed in Gran Canaria and Tenerife with conductors Andrés Orozco-Estrada and Christopher Franklin, along with soloists Juan Diego Flórez (tenor) and Denis Matsuev (piano). We're busy performing in London and around the UK in February before our next tour to Brussels in March and Madrid a few days later. Tickets are available for all tour concerts: visit lpo.org.uk/tours.

Sounds & Sweet Airs: 2016 Gala We are delighted to announce that ‘Sounds & Sweet Airs’, the 2016 London Philharmonic Orchestra Gala evening, will be held on Wednesday 27 April amidst the stunning surroundings of the Old Royal Naval College, Greenwich. The evening, curated in partnership with acclaimed actor Simon Callow CBE, will include performances inspired by Shakespeare as we celebrate his 400th anniversary. Guests will enjoy a Champagne Taittinger reception on the Colonnades before moving on to the beautiful Chapel for an orchestral showcase with Vladimir Jurowski at the helm. Guests will then adjourn to the stunning Painted Hall to enjoy a threecourse gala dinner and a live auction in support of the work of the London Philharmonic Orchestra. For further information and to book your ticket please contact Catherine Faulkner on 0207 840 4207, email catherine.faulkner@lpo.org.uk or visit lpo.org.uk/support/gala.html

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

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

Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Grace Lee Rebecca Shorrock Second Violins Philippe Honoré Guest Principal Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Helena Nicholls Harry Kerr Sheila Law Elizabeth Baldey Alison Strange John Dickinson Violas Przemysław Pujanek Guest Principal Robert Duncan Gregory Aronovich Katharine Leek

Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Naomi Holt Alistair Scahill Daniel Cornford Martin Fenn Cellos Kristina Blaumane Principal Chair supported by Bianca and Stuart Roden

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

Sue Sutherley Susanna Riddell Double Basses Kevin Rundell* Principal George Peniston Laurence Lovelle Sebastian Pennar Lowri Morgan Helen Rowlands Charlotte Kerbegian Ben Wolstenholme Flutes Juliette Bausor Guest Principal Sue Thomas* Chair supported by Victoria Robey OBE

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

Sue Thomas* Alto Flute Sue Thomas*

Oboes Ian Hardwick* Principal Alice Munday Sue Böhling* Cor Anglais Sue Böhling* Principal Clarinets Thomas Watmough Principal Richard Russell Paul Richards Alan Andrews

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

David Whitehouse Ross Learmonth Bass/Contrabass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal

Bass Clarinets Paul Richards Principal Alan Andrews

Percussion Andrew Barclay* Principal

Contrabass Clarinet/ E flat Clarinet Alan Andrews

Henry Baldwin Co-Principal

Bassoons Jonathan Davies Guest Principal Gareth Newman Rachel Simms Contrabassoon Rachel Simms Horns David Pyatt* Principal Chair supported by Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal Bass Trumpet David Whitehouse

Chair supported by Andrew Davenport Chair supported by Jon Claydon

Keith Millar Jeremy Cornes Karen Hutt James Bower Edward Cervenka Cymbalom Edward Cervenka Harp Rachel Masters* Principal Piano John Alley Celeste Clíodna Shanahan Electric Guitar Daniel Thomas Bass Guitar Stephen Rossell Assistant Conductor Tim Murray * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

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

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

Pieter Schoeman leader

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 80 releases available on CD and to download. Recent additions include Messiaen’s Des Canyons Aux Étoiles under Christoph Eschenbach, and archive recordings of Mahler Symphonies and Beethoven’s Symphony No. 5 conducted by Klaus Tennstedt. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7

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

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

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

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Vladimir Jurowski conductor

Jurowski seems to have reached the magic state when he can summon a packed house to hear anything he conducts with the LPO, however unfamiliar

Geoff Brown, The Arts Desk, February 2015

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of 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 Principal Conductor in 2007. In October 2015 he was appointed the next Chief Conductor and Artistic Director of the Rundfunk-sinfonieorchester Berlin, a position he will take up in September 2017, and also accepted the honorary position of Artistic Director of the Enescu International Festival in Bucharest, also from 2017. He has previously 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).

His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra national de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Moses und Aron at Komische and Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. The Glyndebourne production of Wagner's Die Meistersinger von Nürnberg, led by Vladimir Jurowski with the London Philharmonic Orchestra and Glyndebourne Chorus won the 2015 BBC Music Magazine Opera Award. During the performance we are all 'in the same boat', so since conductors are meant to be silent during the concert, a friendly encouraging look in the right moment is very helpful, almost as helpful as good conducting technique (the latter being rather obligatory). Vladimir Jurowski on engaging players during a performance

He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin Philharmonic, New York Philharmonic and Rundfunk Sinfonieorchester Berlin; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

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As well as his debut at the Salzburg Easter Festival at the helm of the Staatskapelle Dresden, 2015/16 season highlights also include bringing together the London Philharmonic Orchestra and State Academic Symphony of Russia to perform Schoenberg's Gurrelieder at the Moscow Rostropovich Festival. In 2007 Vladimir was a guest on BBC Radio 4's flagship programme Desert Island Discs. Discover his eight records of choice here: bbc.co.uk/programmes/b007w97r

Iestyn Davies

soprano

countertenor

Elena Vassilieva was born in France into a family of musicians and made her stage debut aged nine as Mozart's Bastienne. She studied dance for 15 years, before becoming a pupil of the renowned soprano Elisabeth Schwarzkopf in 1983. Since then she has enjoyed an international singing career during which she has appeared at major opera houses and theatres across Europe and in Japan.

Iestyn Davies’s opera engagements include the Royal Opera House, Covent Garden; Glyndebourne Festival Opera; English National Opera; La Scala, Milan; the Metropolitan Opera, New York; Chicago Lyric Opera; and the Munich and Vienna festivals. He is a leading exponent of Handel – roles include Bertarido (Rodelinda), the title role in Rinaldo, Arsace (Partenope), Hamor (Jephtha) and David (Saul) – and contemporary opera, most notably the roles of Trinculo in Thomas Adès’s The Tempest and First Angel in George Benjamin’s Written on Skin.

Contemporary music plays a particularly important role in Elena's repertoire: composers who have written for her include Edison Denisov, Sofia Gubaidulina, Nicolaus Huber, Ivo Malec, György Kurtág and Alexander Raskatov. Over the last 30 years Elena Vassilieva has made many recordings for labels including Erato, Le Chant du Monde, BIS, Cascavelle, Harmonia Mundi, Cybelia, Megadisc and Claves. In 2008 she recorded Raskatov's Nunc Dimitis with the Hilliard Ensemble and the Dresden Philharmonic Orchestra under conductor Dennis Russell Davies for ECM. Last year she recorded a new disc with the Chinese pianist Yu Fen Chang on the theme of sacred music, covering a wide repertoire from Vivaldi to Raskatov. In June 2012 she made her solo recital debut at the Festival of White Nights in St Petersburg. Later that year she appeared as soloist in the first performances of Raskatov's Mysterium Magnum in Basel, St Petersburg and Moscow, again under Dennis Russell Davies. She also sang Schoenberg's Pierrot Lunaire in Ferrara, Bologna and Roma in December 2012 with members of the Mahler Chamber Orchestra. In March 2013 she made her debut at the Teatro della Scala, Milan, in Raskatov's opera A Dog's Heart. The opera was later reprised at Lyon Opera in 2014.

Elena Vassilieva

In concert Iestyn has performed at La Scala, Milan; the Royal Concertgebouw, Amsterdam; the Tonhalle in Zurich; the Théâtre des Champs-Élysées in Paris; Lincoln Center in New York and the BBC Proms. He has appeared in recital at Carnegie Hall and regularly appears at Wigmore Hall, where he has curated his own Residency. Recent highlights and future engagements include a theatre project entitled Farinelli and the King at Shakespeare’s Globe and subsequently at the Duke of York’s Theatre with Mark Rylance; concerts with the New York Philharmonic and the Royal Concertgebouw Orchestra; a European tour of Handel’s Orlando with the English Concert; a Japanese recital tour; and returns to London’s Wigmore Hall and the Salzburg Festival. A prolific recording artist, Iestyn Davies was the recipient of the 2014 Gramophone Recital Award for his disc Arise, my muse on the Wigmore Live label.

In 2015 Elena was invited by the Mikhailovsky Theatre in St Petersburg for a production of Carmen.

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Mark Padmore

Nikolay Didenko

tenor

bass

Mark Padmore was born in London. 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. He has established an international career in opera, concert and recital. His appearances in the Bach Passions have gained particular notice, especially his acclaimed performances as Evangelist in the St Matthew and St John Passions with the Berlin Philharmonic and Sir Simon Rattle, staged by Peter Sellars, including in Berlin, Salzburg, New York and at the BBC Proms. Recent opera appearances include the leading roles in Harrison Birtwistle's The Corridor and The Cure at the Aldeburgh Festival and in London; Handel's Jephtha for WNO and ENO; and Captain Vere in Britten's Billy Budd and Evangelist in a staging of St Matthew Passion for Glyndebourne Festival Opera. Mark has appeared with the world’s leading orchestras and given recitals worldwide. He appears frequently at Wigmore Hall, where he first sang all three Schubert song cycles in 2008. He repeated the cycles there with Paul Lewis and this season they will perform them for the White Light Festival at Lincoln Center, New York. He also recently sang the cycles at Theater an der Wien and at Salle Gaveau in Paris with Till Fellner. He makes regular appearances with the Orchestra of the Age of Enlightenment, with whom he has conceived projects exploring Bach's St John and St Matthew Passions. Composers who have written for him include Harrison Birtwistle, 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. He was voted Vocalist of the Year in the Musical America 2016 Awards. 8 | London Philharmonic Orchestra

Russian bass Nikolay Didenko graduated from the Moscow Academy of Choral Art in singing and conducting in 2003. He was a soloist at the ‘New Opera’ in Moscow (2003–04), and until 2005 a member of the Houston Grand Opera Studio. Operatic career highlights so far include La forza del destino (Cologne Opera), La sonnambula (Bolshoi Theatre), Oroveso (Norma) on tour with Europa Galante, Pistola (Falstaff) at Bilbao Opera and Filippo II (Don Carlo) with Cologne Opera, among others. A versatile performer, he is also established on the concert platform, singing Jacopo Fiesco in Simon Boccanegra; Verdi’s Requiem at the Beethoven Festival and with the Mozarteum Orchestra Salzburg under Alexander Shelley; Penderecki’s Polish Requiem with the Simón Bolívar Symphony Orchestra; a new work by Alexander Raskatov with the NTR at the Concertgebouw Amsterdam; and Shostakovich’s Symphony No. 13 with the Malmö Symphony Orchestra. Nikolay Didenko opened the 2015/16 season with Benvenuto Cellini at the Cologne Opera. Following tonight’s performance with the London Philharmonic Orchestra he will go on to perform Don Pasquale at the Bolshoi and St Luke’s Passion as part of the Beethoven Festival.

Choir of Clare College, Cambridge

Sopranos Lydia Allain Chapman, Olivia Brett, Catherine Clark, Alice Halstead, Holly Holt, Sophie Horrocks*, Helen Lilley*, Caroline Meinhardt, Madeleine Seale*, Eleanor Smith, Anna Tindall, Sophie Woodhead Altos

Sarah Assaf, Henrietta Box, Helena Cooke, Oliver El-Holiby*, Jess Fisher*, Abigail Gostick*, Guy James, Beatriz dos Santos, Emma Simmons*, Eva Smith-Leggatt*, Rosie Taylor, Eleanor Warner*

Tenors

Laurence Booth-Clibborn, Harry Castle, Joshua Cleary, Nils Greenhow*, Benedict Morris, Christopher Loyn*, Alexander Peter*, Hugo Popplewell*, Alexander Porteous, Jackson Riley, Jaliya Senanayake, Alexander Walmsley*

Basses

Thomas Ashton, Gregory Barber, Leo Benedict, Robin Culshaw*, Laurie Harris, Toby Hession, Christopher Holliday, Charles Littlewood*, Matthew Nixon, Joshua Pacey, Christopher Preston-Bell*, James Proctor*

* Choir of Clare College, Cambridge alumni

Since the founding of a mixed voice choir in 1971, the Choir of Clare College has gained an international reputation as one of the world’s leading university choirs. Under the direction of Graham Ross, the Choir has been praised for its consistently ‘thrilling’ and ‘outstanding’ performances worldwide. The Choir’s 2015/16 season includes Handel’s Messiah with the Orchestra of the Age of Enlightenment, appearances across the UK, live BBC Radio and Television appearances, two recordings for Harmonia Mundi USA, and overseas tours to Notre Dame Cathedral, the USA and a major tour to the Far East.

Graham Ross: Musical Director

In addition to live performances, the Choir has produced an impressive discography of more than 40 recordings. Its recordings on the Harmonia Mundi USA label have been released to great critical acclaim. The Choir’s ongoing series of Music for the Church Year, including the most recent Requiem: Music for All Saints & All Souls disc, has received numerous 5-star reviews in the national and international press.

Graham Ross has established an exceptional reputation as a soughtafter conductor and composer of a broad range of repertoire. He is co-founder and Principal Conductor of The Dmitri Ensemble and Director of Music and Fellow of Clare College, Cambridge, with whom his performances around the world and his extensive discography have earned consistently high praise. In demand as a regular guest conductor of other ensembles in the UK and abroad, his recent collaborations have included Aurora Orchestra, Aalborg Symfoniorkester, Australian Chamber Orchestra and Salomon Orchestra. His 2015/16 season includes conducting debuts with the Orchestra of the Age of Enlightenment, London Mozart Players and Malaysia Philharmonic Orchestra, and concertos with Tasmin Little, Jennifer Pike, Laura van der Heijden and Raphael Wallfisch.

The Choir has toured widely, including the USA, Australia, Japan, China, Russia, the Middle East and mainland Europe, and has commissioned and premiered works by many composers. The Choir most recently performed with the LPO in Elgar's The Dream of Gerontius under Sir Mark Elder in January 2013.

Ross studied music at Clare College, Cambridge and conducting at the Royal College of Music, London. He held a conducting scholarship with the London Symphony Chorus, and has served as assistant conductor for Diego Masson, Sir Roger Norrington and Nicholas Collon. London Philharmonic Orchestra | 9

Programme notes

Speedread Written more than two centuries apart, Beethoven’s 'Pastoral' Symphony and Raskatov’s Green Mass have much in common. They are both unambiguous hymns to the glory of nature, to man’s relationship to the world around us, and to the huge rush of joy that the natural world can impart. But while Beethoven, writing in the 19th century, spoke of shepherds in their fields and the merry gatherings of country folk, Raskatov’s 21st-century mass has a much sterner message: to be mindful of our actions, or risk destroying the earth for future generations.

Ludwig van Beethoven 1770–1827

Beethoven loved nature and the open air. He spent most of his summers away from Vienna in the country retreats of Heiligenstadt, Mödling and Baden, where he would walk the woods and fields notebook in hand, and even back in the city short strolls were a regular part of his work routine. ‘No one can love the countryside as much as I do’, he once said, ‘for surely woods, trees and rocks produce the echo which man desires to hear.’ But nature was not just a balm for the senses; for Beethoven it was evidence of the Creator’s hand. Raised on the tolerant attitudes of the Enlightenment, he had little interest in conventional formal religion, and it was in the outdoors, amidst the wonders of the natural world, that he found himself closest to God. He was hardly alone in that – such feelings were part of the spirit of the early Romantic age – but it was perhaps his unique placing at the threshold of the Classical and Romantic eras in music that allowed such a work as the ‘Pastoral’

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If Raskatov is rather unorthodox in his juxtaposition of secular poems with a setting of the Catholic Mass, then this too is something he shares with Beethoven. For although to our modern ears the pastoral strains of Beethoven’s Sixth Symphony may seem far less radical than the vehemence of his Fifth, it was here that Beethoven broke out of the established symphonic mould to create a wholly new mode of writing, a work whose form, style and content was leaps ahead of anything his contemporaries could contemplate.

Symphony No. 6 in F major, Op. 68 (Pastoral) 1 2 3 4 5

Pleasant, cheerful feelings awakened on arrival in the countryside (Allegro ma non troppo) Scene by the brook (Andante molto moto) Merry gathering of country folk (Allegro) – Thunder Storm (Allegro) – Shepherd’s song: benevolent feelings, combined with thanks to the deity, after the storm (Allegretto)

Symphony to achieve greatness. ‘More an expression of feeling than painting’, said Beethoven, and it is true that, while the atmosphere of the countryside pervades every bar, the Sixth Symphony can be fully enjoyed without resort to mental pictures of shepherds, peasants and cuckoos. Even so, the members of the audience at the work’s premiere in a freezing cold Theater an der Wien in December 1808 would have had little difficulty recognising the scene Beethoven was laying out before them. Musical evocations of natural phenomena such as running water, storms and birdsong were familiar from the opera house, as were representations of the countryside’s human population by means of rustic tunes and bagpipe-style drones. There had been pastoral symphonies before, while Haydn’s two great late oratorios The Creation and The Seasons, with their

brilliantly executed evocations of the natural world, were regular fixtures in the Viennese concert calendar. These, then, were not the novelties of the Sixth. What may have struck its first listeners as more radical was its effortlessly laid-back character, and the air of repose with which, uniquely in a Beethoven symphony, it both begins and ends. The first movement also introduces us to two other important characteristics of the work, namely themes that seem to want to circle back on themselves in leisurely self-perpetuation, and a general contentedness with simple and slow-moving harmonies. When taking a walk in the country there is no need to hurry, as Beethoven proves in the central development section, where a five-note descending figure borrowed from the opening theme is repeated many times over slowly changing chords, its effect like that of turning one’s gaze to admire different vistas within the same landscape. The second movement is one of Beethoven’s most gorgeous inspirations, and one that he had been harbouring for some time. The watery accompaniment figure had its origin in an idea noted down in a sketchbook from 1802–3, where it carried the heading: ‘murmur of the brook … the deeper the brook, the deeper the sound.’ Deep is the word; the richness and subtlety of Beethoven’s creation give it an unparalleled power to gladden the heart, and so dreamily do we fall under its

spell that it hardly seems out of place when the music twice stops sleepily near the end to allow flute, oboe and clarinet to give us birdsong imitations identified by Beethoven as nightingale, quail and cuckoo. The last three movements are run together to make an uninterrupted sequence – a move suggested by the programme for sure, but at the same time utterly in keeping with Beethoven’s formal procedures of the time. The third movement is the Symphony’s scherzo, and a robust depiction of bucolic merrymaking. Twice Beethoven pokes fun at the village band (the oboist not sure where to come in, the bassoonist only knowing three notes), and twice the music tips over into an earthier dance in which we can almost hear feet stamping. Eventually the revelries are halted by the menacing rumble of approaching thunder, before the fourth-movement storm hits. When it has run its brief but brutal course and the departing lightning has flashed for the last time, gentle calls given out on clarinet and horn signal the arrival of the finale before going on to form the basis of the movement’s recurring main theme. This hymn of praise is no exultant shout, however, but a joyful and dignified thanksgiving, not just for the brook and the ‘pleasant feelings’ but, we realise, for everything we have witnessed, the storm and the three-note bassoonist included. With a final majestic, swelling peroration, Beethoven ennobles them all. Beethoven programme note © Lindsay Kemp

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

Beethoven Symphony No. 6 on the LPO Label Klaus Tennstedt conductor | London Philharmonic Orchestra LPO-0085 | £6.99 'A visionary performance.' Gramophone Magazine, Editor’s Choice, July 2015 Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Available to download or stream online via iTunes, Spotify, Amazon and others.

London Philharmonic Orchestra | 11

Programme notes continued

Alexander Raskatov born 1953

Commissioned by the London Philharmonic Orchestra. 1 Kyrie 2 The Wild Flower’s Song (countertenor) 3 Gloria 4 Lebensalter (tenor) 5 Credo 6 Zangezi (bass) 7 Sanctus 8 Clotilde (soprano) 9 Benedictus 10 Preghiera (quartet of soloists) 11 Agnus Dei

Alexander Raskatov is no stranger to controversy. His 2010 opera A Dog’s Heart divided the critics – and not just because of its provocative storyline. Based on the novel by Mikhail Bulgakov, which was so controversial in his native Soviet Russia that it was banned for more than 60 years after its first publication, it sees a medical professor replace the testicles and pituitary gland of a dog with those of a human to find out if it would turn him into a man. Raskatov’s retelling of the story cemented his international reputation as one of the foremost Russian composers of his generation. But it also raised questions about the integrity of his personal style, criticism of which he was keenly aware: ‘In A Dog’s Heart I used a lot of things for which people will probably hate me’, he says. ‘But I don’t care – I was free.’ Raskatov’s music seems deliberately to defy definition. While not polystylistic, neither is it easy to classify as post-modern, minimalist, or any other familiar contemporary label. He is determined to resist succinct classification and freely admits to using whichever musical style he feels is appropriate to that particular

12 | London Philharmonic Orchestra

Green Mass (world premiere) Elena Vassilieva soprano Iestyn Davies countertenor Mark Padmore tenor Nikolay Didenko bass Choir of Clare College, Cambridge

piece of music at that particular moment. ‘I am incapable of following just one direction’, he has said. But if Raskatov is magpie-like in his attraction to different genres, his music is still grounded in a distinctly Russian tradition. Like A Dog’s Heart, much of his vocal music is based upon Russian texts, and he has made several arrangements of music by his Russian predecessors – Mussorgsky, Shostakovich, Prokofiev and Schnittke. But his latest work is dedicated to Russia itself. Green Mass is, as its title suggests, a celebration of Russia’s beautiful green landscapes – ‘a land of forests and fields’ – that Raskatov, who has lived in Paris since 2004, misses deeply. Yet it also reaches out to all of humanity, offering a salient reminder that we have been blessed with just one earth and that it must be protected for the sake of future generations. ‘I think we have done very bad things to our nature,’ Raskatov says. ‘I don’t belong to the Green Party, but if I were to choose a party, I would choose this one, because we all have a responsibility for what we will leave the next generation.’ While the backbone of Green Mass is a setting of the Catholic Mass in Latin, its sections are interspersed with additional movements using secular texts dedicated to the beauty of nature: ‘The Wild Flower’s Song’ (William Blake), ‘Lebensalter’ (Georg Trakl), ‘Zangezi’ (Velimir Khlebnikov) and ‘Clotilde’ (Guillaume Apollinaire), as well as 'Preghiera', the Prayer of St. Francis of Assisi. In keeping with Raskatov’s global message, each uses a different language (English, German, Russian, French and Italian) and each is sung by one of the four vocal soloists, with the four coming together almost unaccompanied in 'Preghiera'. By combining texts both secular and sacred, Raskatov hoped to create a work that was both ‘theistic’ (worshipping God)

and ‘pantheistic’ (honouring nature), a seemingly incompatible juxtaposition that Raskatov aims to reconcile through music: ‘In one drop of water we can see a cosmos … That’s why the most important musical patterns are not fixed but lead a nomadic life between liturgical and secular texts.’ In his aim to create a synthesis of the spiritual and the earthly, Raskatov produces a work that flies between extremes: from the ‘tranquil and mysterious’ opening Kyrie that appears to breathe itself into life like the very act of creation, to the ferocity of the Gloria, with its destabilising metrical changes and sharp vocal outbursts that at times suggest anger rather than celebration. In between, Raskatov offers a shimmering setting of Blake’s poem ‘The Wild Flower’s Song’, in which the violins, violas and cellos split into a rich fabric of 44 different parts, conjuring an ethereal, dreamlike realm where nature offers a blanket of comfort, away from the harsh realities of modern life. But in almost every glimpse of the natural world, there are shadows lurking beneath the surface – a reminder of our wilful destruction of the earth around us.

Raskatov’s final poetic insertion, ‘Clotilde’, is the most sombre of all, evoking a landscape completely without sunlight, so that even shadows no longer exist. Viewed from this perspective, the text of the Agnus Dei that closes the work takes on new meaning – the words ‘miserere nobis … dona nobis pacem’ (‘have mercy upon us … grant us peace’) sounding like a quiet prayer of forgiveness to God for the sins committed against the natural world. This is not the place for a happy ending: as the choir intones its solemn prayer, the music ebbs away to nothing. Raskatov programme note and Speedread © Jo Kirkbride. Subtitles operated by Andrew Kingsmill. 'Lebensalter' English translation Alexander Stillmark, by kind permission of Northwestern University Press. 'Zangezi' text from The King of Time: Poems, Fictions, Visions of the Future by Velimir Khlebnikov, translated by Paul Schmidt, edited by Charlotte Douglas, copyright © 1985 by the Dia Art Foundation. 'Clotilde' text from Alcools, English translation © 1995 Donald Revell and reprinted by permission of Wesleyan University Press.

Alexander Raskatov: Composer Profile Alexander Raskatov was born in Moscow in 1953. His mother was a doctor and his father a surgeon, and later a satiric journalist for Krokodil magazine. Alexander studied composition at the Moscow Conservatory from 1972–78. Since 1979 he has been a member of the Russian Union of Composers and since 1990 he has been a member of the Russian Association of Contemporary Music and Staff Composer of Stetson University in the USA. Since the 1990s he has lived in Germany and France, but remains firmly connected to Russia and its traditions. The influences of Stravinsky and Webern can be sensed in Raskatov’s refined sound development and concentrated treatment of material. He has written numerous vocal works based on texts by contemporary Russian poets. He has also been intensively preoccupied with the Russian Futurists of the 1920s (including Mossolov and Roslavetz) and has completed some of their fragments. Irina Schnittke entrusted him with the reconstruction of her husband's Ninth Symphony after his death in 1998.

In June 2010 Raskatov's opera A Dog's Heart received its world premiere at the Dutch National Opera in a co-production with English National Opera, where it was seen in November 2010. The production, by Simon McBurney, has also been staged at the Teatro alla Scala in Milan and the Opéra National de Lyon. In 2010 at Royal Festival Hall the London Philharmonic Orchestra gave the world premiere of Raskatov's A White Night's Dream, which it also co-commissioned.

London Philharmonic Orchestra | 13

Next concerts at Royal Festival Hall Wednesday 3 February | 7.30pm

Wednesday 10 February | 7.30pm

Dvořák Overture, Otello Brahms Double Concerto for violin and cello Dvořák Symphony No. 6

Dvořák Piano Concerto Sibelius The Tempest: excerpts from the Incidental Music

Yannick Nézet-Séguin conductor Lisa Batiashvili violin Maximilian Hornung cello

Osmo Vänskä conductor Stephen Hough piano Lilli Paasikivi mezzo soprano Simon Callow narrator

Friday 5 February | 7.30pm

Friday 12 February | 7.30pm

JTI friday series

Gershwin Piano Concerto in F Rachmaninoff Symphony No. 2

Nicolai Overture, The Merry Wives of Windsor Korngold Violin Concerto Elgar Symphony No. 1

Yannick Nézet-Séguin conductor Jean-Yves Thibaudet piano

Osmo Vänskä conductor Hyeyoon Park violin

playing the bard in 2016 In collaboration with some of London’s leading cultural, creative and educational institutions, the London Philharmonic Orchestra joins Shakespeare400 with a series of concerts this year celebrating the Bard’s love of music. find out more: lpo and shakespeare400 lpo.org.uk/shakespeare

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

14 | London Philharmonic Orchestra

lpo.org.uk/shakespeare

Concerts at Royal Festival Hall

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

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

Pre-concert talks

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

Special performances

The centrepiece of the London Philharmonic Orchestra’s 2015/16 concert season at Royal Festival Hall is Shakespeare400, a festival of concerts, talks and exploratory events celebrating the musical legacy of the world’s greatest playwright, William Shakespeare.

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

Recent releases on the LPO label The Genius of Film Music: Hollywood Blockbusters 1960s to 1980s John Mauceri conductor £10.99 (2 CDs) | LPO-0086

Beethoven: Coriolan Overture Symphony No. 5

Klaus Tennstedt conductor A BBC recording £6.99 | LPO-0087

Browse the catalogue and sign up for updates at lpo.org.uk/recordings Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Available to download or stream online via iTunes, Spotify, Amazon and others.

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

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

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

16 | London Philharmonic Orchestra

Image: Francesca Patella

Andriessen: M is for Man, Music & Mystery The Music of Louis Andriessen 9â&#x20AC;&#x201C;13 February 2016 Subversive humour, directness and generosity mark out this musical giant. We explore the music of Louis Andriessen in opera, ensemble and orchestral pieces, and weâ&#x20AC;&#x2122;ll hear the man himself talk about his life and music. Highlights include his dark lyrical song cycle La passione with Britten Sinfonia, a concert staging of his Dante-inspired opera La commedia with the original Amsterdam cast, including Claron McFadden, Cristina Zavalloni and Synergy Vocals, and the BBC Symphony Orchestra, and a Total Immersion Day culminating in the UK premiere of his major new work Mysterien. For full details and to buy tickets:

barbican.org.uk 020 7638 8891

Britten Sinfonia receives support from Arts Council England

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

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

18 | London Philharmonic Orchestra

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

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

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

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

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

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

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

London Philharmonic Orchestra | 19

Administration Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Roger Barron Richard Brass Desmond Cecil CMG Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rachel Masters* George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Laurence Watt Neil Westreich David Whitehouse* * Player-Director Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director (maternity leave)

Alison Atkinson Digital Projects Director

Amy Sugarman PA to the Chief Executive / Administrative Assistant

Clare Lovett Education Director (maternity cover)

Finance

Talia Lash Education and Community Project Manager

Albion Media (Tel: 020 3077 4930)

Lucy Sims Education and Community Project Manager

Philip Stuart Discographer

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

Richard Mallett Education and Community Producer

Concert Management

Development

Roanna Gibson Concerts Director

Nick Jackman Development Director

Graham Wood Concerts and Recordings Manager

Catherine Faulkner Development Events Manager

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

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

Jo Cotter Tours Co-ordinator

Helen Yang Development Assistant

Orchestra Personnel

Kirstin Peltonen Development Associate

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

20 | London Philharmonic Orchestra

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

Matthew Freeman Recordings Consultant Public Relations