London Philharmonic Orchestra 6 March 2016 Eastbourne concert programme by London Philharmonic Orchestra

Congress Theatre, Eastbourne Concert programme 2015/16 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

Congress Theatre, Eastbourne Sunday 6 March 2016 | 3.00pm

Medtner Piano Concerto No. 2 in C minor, Op. 50 (38’) Interval (20’) Tchaikovsky Symphony No. 3 in D, Op. 29 (44’)

Vladimir Jurowski conductor Marc-André Hamelin piano

The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for this performance is supplied and maintained by Steinway & Sons, London.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL

Programme £2.50 Contents 2 Welcome Orchestra news 3 On stage today 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Marc-André Hamelin 8 Programme notes 10 Recommended recordings Next LPO Eastbourne concert 2015/16 Eastbourne Appeal 11 Supporters 12 LPO administration The timings shown are not precise and are given only as a guide.

Welcome

Orchestra news

Welcome to the Congress Theatre, Eastbourne

Glyndebourne 2016 Public booking opens tomorrow (7 March) for Glyndebourne Festival Opera's 2016 season, where we have been Resident Symphony Orchestra since 1964. This summer Glyndebourne’s contributions to the 'Shakespeare400' anniversary year are a production of Britten’s A Midsummer Night’s Dream – a revival of the 1981 production directed by Peter Hall – and a new production of Berlioz’s Béatrice et Bénédict. Also featuring this year is Wagner’s Die Meistersinger von Nürnberg with conductor Robin Ticciati. The other operas with the LPO are Rossini’s Il barbiere di Siviglia and Janáček’s The Cunning Little Vixen. Call the Glyndebourne Box Office on 01273 815000 or book online at glyndebourne.com

Artistic Director Chris Jordan General Manager Gavin Davis Welcome to this afternoon’s performance by the London Philharmonic Orchestra. We hope you enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones and watch alarms are switched off during the performance. Thank you. We are delighted and proud to have the London Philharmonic Orchestra reside at the Congress Theatre for the 19th year. Thank you, our audience, for continuing to support the concert series. Without you, these concerts would not be possible. We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email theatres@eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

New LPO Label release Just released on the LPO Label is a disc of works by Julian Anderson, the Orchestra’s Composer in Residence from 2010–14 (LPO-0089). The disc features the world premiere performance of In lieblicher Bläue (poem for violin and orchestra) with soloist Carolin Widmann, recorded at Southbank Centre’s Royal Festival Hall on 14 March 2015. It also includes Alleluia (composed for the London Philharmonic Choir, the LPO and Vladimir Jurowski to perform at the re-opening of Royal Festival Hall in June 2007) and The Stations of the Sun, both also live concert recordings. The disc is priced £9.99: visit lpo.org.uk/recordings or call 020 840 4242.

The LPO on Instagram You can now find us on Instagram! Head over to our page @londonphilharmonicorchestra and follow us for exclusive backstage access. We’ll be sharing behind-the-scenes content to give you an insight into all things LPO, from the musicians themselves, to the On The Road team, and to the audiences at our concerts – tag us #londonphilharmonicorchestra so we can share in your experience...

2 | London Philharmonic Orchestra

On stage today

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

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 Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Grace Lee Second Violins Andrew Storey Principal Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Joseph Maher Marie-Anne Mairesse Sioni Williams Sheila Law Alison Strange Georgina Leo

Violas Przemysław Pujanek Guest Principal Cyrille Mercier Co-Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo

Flutes Katie Bedford Guest Principal Sue Thomas*

Cellos Pei-Jee Ng Principal Francis Bucknall Santiago Carvalho† David Lale Elisabeth Wiklander

Oboes Stéphane Rancourt Guest Principal Alice Munday

Chair supported by The Viney Family

Sue Sutherley Susanna Riddell Double Basses Kevin Rundell* Principal Sebastian Pennar George Peniston Laurence Lovelle Lowri Morgan

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

Chair supported by Victoria Robey OBE

Trombones David Whitehouse Principal Matthew Lewis

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

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal

Clarinets Robert Hill* Principal Thomas Watmough Bassoons Gareth Newman Principal Simon Estell Horns David Pyatt* Principal Chair supported by Simon Robey

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

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Alex Wide Gareth Mollison

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Jon Claydon | Andrew Davenport | William & Alex de Winton | David & Victoria Graham Fuller | Dr Barry Grimaldi | The Jeniffer and Jonathan Harris Charitable Trust | Bianca and Stuart Roden

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

4 | London Philharmonic Orchestra

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

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

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download. Recent additions include Rachmaninoff's Symphony No. 3 and 10 Songs under Vladimir Jurowski, and a second volume of works by the Orchestra's former Composer in Residence, Julian Anderson. 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 across social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7 instagram.com/londonphilharmonicorchestra

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 premiere 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.

London Philharmonic Orchestra | 5

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). 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.

6 | London Philharmonic Orchestra

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

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

Marc-André Hamelin piano

Is it possible for a pianist to be too good? If anyone faces jeopardy with that question, it’s Marc-André Hamelin.

The New York Times, 22 February 2015

Marc-André Hamelin is ranked among the elite of world pianists for his unrivalled blend of musicianship and virtuosity in the great works of the established repertoire, as well as for his intrepid exploration of neglected music of the 19th and 20th centuries. This season he performs with the London Philharmonic Orchestra and Vladimir Jurowski at the Alte Oper Frankfurt as well as at Southbank Centre's Royal Festival Hall and Eastbourne's Congress Theatre; tours North America with the Budapest Festival Orchestra and Iván Fischer; has a three-part residency at the Muziekgewbouw in Amsterdam; and makes his debut at the Teatro alla Scala, Milan, under Jakub Hrůša. Orchestral appearances in North America include the Edmonton, Los Angeles Chamber, Manitoba, National Arts Centre, Quebec, San Diego and Toronto symphony orchestras. In addition to the London Philharmonic Orchestra, in Europe Hamelin appears with the Hallé, Berlin Radio Symphony and Lucerne Symphony orchestras and the Orchestra della Svizzera Italiana, in repertoire ranging from Mozart to Brahms, Ravel and Messiaen. In recital, he appears in the Keyboard Virtuoso series at Carnegie Hall and at Chicago Symphony Presents, the Van Cliburn, Spivey Hall, ProMusica Montreal, Music Toronto and the Green Center in Sonoma. European recitals include Munich, DeSingel in Antwerp, Moscow State Philharmonic Society, Perugia, Heidelberg Festival, Bilbao and the Salzburg Mozarteum. The summer of 2015 included a return to the BBC Proms performing Ravel's Piano Concerto for the Left Hand with the BBC National Orchestra of Wales

and François-Xavier Roth. Recitals included London's Wigmore Hall, the Ruhr Piano Festival, Santa Fe Chamber Music Festival, Rockport Chamber Music Festival, Cheltenham Music Festival, Festival Cully Classique, the International Keyboard Festival in New York City and Aspen Music Festival. Marc-André Hamelin records exclusively for Hyperion Records. His most recent releases are a two-disc set of Mozart Sonatas and Leo Ornstein's Piano Quintet with the Pacifica Quartet. He was honoured with the 2014 ECHO Klassik Instrumentalist of the Year (Piano) and Disc of the Year by Diapason and Classica magazines for his three-disc set of Busoni's late piano music. Other recent recordings include Debussy's Images and Préludes Book II; Haydn concertos with Les Violons du Roy and Bernard Labadie; three doubledisc sets of Haydn sonatas; and an album of his own compositions, Hamelin: Études, which received a 2010 Grammy nomination (his ninth) and a first prize from the German Record Critics’ Association. His Hyperion discography of over 50 recordings includes concertos and works for solo piano by such composers as Alkan, Godowsky and Medtner, as well as brilliantly received performances of Brahms, Chopin, Liszt, Schumann and Shostakovich. Born in Montreal and a resident of Boston, Marc-André Hamelin is the recipient of a Lifetime Achievement Award from the German Record Critics' Association. He is an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada. marcandrehamelin.com

London Philharmonic Orchestra | 7

Programme notes

Speedread Russian composers in the 19th and early 20th centuries viewed the great German classical tradition with a mixture of admiration, envy and resentment. A giant like Beethoven – was he an inspiration, or was he just an impossible act to follow? When it came to the symphony, the form in which Beethoven excelled, Tchaikovsky's response was to leaven Beethoven's profound dramatic logic with folk music: in his Third Symphony that of his native Russia, and in the brilliant finale, a dashing Polish dance. For Nikolai

Nikolai Medtner 1880–1951

For a long time it has been Nikolai Medtner’s bad luck to be compared to his slightly older contemporary Serge Rachmaninoff. Superficially, the two men had a lot in common. Both were outstanding Russian composer-performers; both tended to favour composing for their own instrument, the piano – exclusively in Medtner’s case; both left Russia, to die in exile, Rachmaninoff in 1917, the year of the Revolution, Medtner four years later. The two men remained friends, even when Rachmaninoff chose the USA as his new home and Medtner opted for London. In some of its features: warm harmonic twists, tender folk- or chant-inflected melodic turns of phrase, Medtner’s music does occasionally resemble Rachmaninoff’s. But while Rachmaninoff has established a firm presence in the modern concert repertoire, Medtner has remained a marginal figure, loved by a devoted group of admirers but not, it seems, by the wider concert-going public. The problem is not simply, as one critic put it waspishly, that Medtner is a ‘poor man’s Rachmaninoff’. It is 8 | London Philharmonic Orchestra

Medtner, however, there simply wasn't a problem. Where Beethoven left off, he would simply continue. Yet the result is utterly personal: more inwardlooking than the music of his friend Rachmaninoff perhaps, but full of tenderness, fantasy and passion in a constant ebb and flow. Medtner may not grab the attention as immediately as Rachmaninoff, but give him time and in his gentler way he may well take possession of your heart.

Piano Concerto No. 2 in C minor, Op. 50 Marc-André Hamelin piano 1 Toccata (Allegro risoluto) 2 Romanza (Andante con moto) 3 Divertimento (Allegro risoluto e molto vivace)

more likely that the surface similarities between the two make people expect Medtner to excite and move them in the same kind of way. In fact Medtner is a very different kind of composer. As his surname suggests, he was of German extraction – on both sides of the family – and from the start he seems to have been more at ease with the German tradition, and particularly its intellectually dynamic symphonic music, than most of his Russian contemporaries, who tended to regard the German classics (especially Beethoven), with a mixture of admiration, envy and resentment. Early in his concert career, critics pointed out Medtner’s sure feeling for Beethoven’s music, its dramatic logic and its Innigkeit – a noteasily translatable word that means something like ‘inner intensity’. And that is another clue to Medtner’s spiritual difference from Rachmaninoff. Rachmaninoff is an extrovert: he takes the stage easily and communicates directly. Medtner is more of an introvert: his music benefits from more than one hearing – it reveals itself gradually. However, as many have noted, it also has great integrity, in both

senses of the word. It is beautifully worked through, ‘integrated’ music, and at the same time it is utterly true to itself. Fashion, notions of ‘modernity’, meant nothing to Medtner. These qualities seem more impressive with the passing of time. Medtner’s lack of concern about keeping up with the times is quickly apparent in his Second Piano Concerto, which he dedicated to Rachmaninoff. If you didn’t know that it was written in the 1920s, when Medtner’s compatriots Stravinsky and Prokofiev were taking wicked delight in provoking traditionalist audiences across Europe and America, you’d probably

never guess. Medtner makes it clear from the start that such pranks are not for him. But then neither are Rachmaninoff’s surging ‘big tunes’. Instead, the music seems to be constantly evolving melodically. As one writer put it: ‘In its surges of imagination and turbulence is a person talking – at once considered yet free, determined yet yielding, long in sentence, short in sentence, elastic in phrasing and cadence’. This could be said of all three movements: the dramatic and tender first, the lovely Romanza, and the ‘resolute’ finale. The ending is brilliant but not barnstorming: even here heart, Innigkeit, is everything.

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

Pyotr Ilyich Tchaikovsky 1840–93

In August 1875 Tchaikovsky wrote to the composer Sergey Taneyev that he had ‘written a symphony. It is in D major and consists of five movements’. This seemingly bald statement actually identifies two important features that set Tchaikovsky’s Third Symphony apart from its fellows. Generally speaking, Tchaikovsky preferred the darker minor mode for his big symphonic utterances; and even in this, the brightest of his symphonies, he feels the need to temper that brightness by setting the middle three movements, plus the first movement’s slow introduction, in minor keys. And the five-movement structure is equally unique: the ‘extra’ movement is the Alla tedesca – a lilting symphonic waltz, whose declared ‘German’ (tedesca) style makes nonsense of the Symphony’s still-frequently used nickname, ‘Polish’. That name has nothing to do with Tchaikovsky: it seems to have been invented by the conductor August Manns for one of his popular Crystal Palace concerts. True, the Finale

Symphony No. 3 in D, Op. 29 1 2 3 4 5

Introduction e Allegro Alla tedesca – Allegro moderato e semplice Andante elegiaco Scherzo – Allegro vivo Finale – Allegro con fuoco

is largely based on the rhythm of the ‘polonaise’ or ‘polacca’ – a dance strongly associated with Poland at the time, and much favoured by Tchaikovsky. Otherwise it is hard to identify anything specific to that nation in the Third Symphony. A possibly more relevant fact is that Tchaikovsky conceived the Symphony around the time he was working on his ballet Swan Lake. The balletic character of the Alla tedesca is clear from the start, and while the central Andante elegiaco is more funereal in character, the mysterious string tremolos near the end of the movement strongly recall Tchaikovsky’s dramatic use of the same device in Swan Lake. And the airborne Scherzo that follows is far less remarkable for its ‘symphonic’ development of motifs than for its brilliant use of orchestral colour. Particularly striking are the washes of string sound at the heart of the movement Tchaikovsky creates by having the players move their bows rapidly

London Philharmonic Orchestra | 9

Programme notes continued

forwards and backwards across their strings. This too is reminiscent of some of the magical orchestral effects in the ballet score. Surrounding these three gentle but flavoursome movements are two bracing, extrovert Allegros. The first movement’s confident, distinctly Russian-inflected main theme is all the more outstanding on its first appearance for the way it seems to cast off the gloom of the slower introduction – as though Tchaikovsky, having led us to expect something sombre, suddenly breaks out into a cheery ‘fooled you!’ The first movement’s exhilarating momentum is sustained magnificently, with the final build-up particularly well engineered. On the whole critics have been less kind to the Finale; and it is true that there is something slightly academic about the fugue at the centre of the movement (led off by clarinets and second violins). But the themes are catchy enough, and the conclusion is suitably roofraising without outstaying its welcome. The mature mastery of the Fourth, Fifth and Sixth symphonies is only just around the corner. Programme notes © Stephen Johnson

Still to come: final LPO concert at the Congress Theatre this season Sunday 17 April 2016 | 3.00pm De Falla The Three-cornered Hat (Suite No. 2) Rodrigo Fantasía para un gentilhombre* Prokofiev Romeo and Juliet (excerpts) Jaime Martín conductor Miloš Karadaglić guitar *Please note a change to the work from originally advertised.

'Karadaglić's playing is the epitome of passion tempered by elegance.' Gramophone

Tickets £13–£29 plus £1 postage per booking Box Office 01323 412000 | Book online eastbournetheatres.co.uk

10 | London Philharmonic Orchestra

Recommended recordings of this afternoon's works Medtner: Piano Concerto No. 2 Geoffrey Tozer | London Philharmonic Orchestra | Neeme Järvi [Chandos] Tchaikovsky: Symphony No. 3 London Philharmonic Orchestra | Mstislav Rostropovich (part of a set of complete Tchaikovsky symphonies) [EMI, now Warner] or Oslo Philharmonic Orchestra | Mariss Jansons [Chandos]

London Philharmonic Orchestra 2015/16 Eastbourne Appeal The London Philharmonic Orchestra is extremely proud of its longstanding relationship with Eastbourne and we hope that you have enjoyed this season’s concerts so far. As you may be aware, this year’s Eastbourne Appeal aims to secure support towards the Orchestra’s educational activities, ensuring that young people – particularly those in under-resourced areas – have the opportunity to access their first orchestral experience. With no funding for education work included in our annual public grant there is a critical need to secure funding for such initiatives. We would like to ask our Eastbourne audiences to help us underwrite the cost of 650 tickets by making a contribution to our 2015/16 Eastbourne Appeal. Any donation, large or small, is highly valued by us, and just £9 can enable one child to attend a concert. To donate, please visit lpo.org.uk/eastbourneappeal or contact Helen Yang on 020 7840 4225 or helen.yang@lpo.org.uk. We have currently reached over 75% of our goal and would like to thank those of you who have already given so generously to this year’s Appeal.

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 Dr Barry Grimaldi 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 Virginia Slaymaker Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood 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 Roger Phillimore Mr James Pickford Mr Michael Posen Alexey & Anastasia Reznikovich Mr Konstantin Sorokin Martin and Cheryl Southgate Mr Peter Tausig Lady Marina Vaizey 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 Willis Towers Watson 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 | 11

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

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

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 Barry Smith 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

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

12 | London Philharmonic Orchestra

Matthew Freeman Recordings Consultant Public Relations