London Philharmonic Orchestra 6 May 2017 concert programme by London Philharmonic Orchestra

Concert programme lpo.org.uk

Our 2017 concerts are part of

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

Southbank Centre’s Royal Festival Hall Saturday 6 May 2017 | 7.30pm

Magnus Lindberg Two Episodes* (17’) Beethoven Symphony No. 9 in D minor, Op. 125 (Choral)† (67’)

Christoph Eschenbach conductor Susanna Hurrell soprano Justina Gringytė mezzo-soprano David Butt Philip tenor Jihoon Kim bass London Philharmonic Choir (Artistic Director: Neville Creed) Please note there will be no interval during this performance.

* Commissioned by BBC Radio 3, London Philharmonic Orchestra with the generous support of the Boltini Trust, Helsinki Festival and Casa da Música, Porto. † Performance generously supported by an anonymous donor.

Free pre-concert event 6.15–6.45pm | The Clore Ballroom at Royal Festival Hall Dr Benjamin Walton leads a discussion on how Beethoven’s Ninth Symphony – and Schiller’s Ode, which forms its last movement – reflect the ideals of the Enlightenment, and the powerful social changes of the times in which they were written. The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome Orchestra news 3 On stage tonight 4 Belief and Beyond Belief 6 About the Orchestra 7 Leader: Pieter Schoeman 8 Christoph Eschenbach 9 Tonight’s soloists 11 London Philharmonic Choir 12 Programme notes 15 Text and translation 16 Beethoven on the LPO Label 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

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

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Orchestra news

elcome to tonight’s London Philharmonic Orchestra concert, the last in our 2016/17 Royal Festival Hall season. We hope you’ve enjoyed this season’s concerts and will join us again in September for the start of our 2017/18 season. We’ll be continuing our journey through Belief and Beyond Belief (September–December), as well as marking the 10th anniversary of Vladimir Jurowski’s Principal Conductorship – Jurowski kicks off the new season on 23 September with Enescu’s powerful drama Oedipe. In 2018 we’ll embark on a major series called Changing Faces: Stravinsky’s Journey, chronologically charting the life and music of one of the 20th century’s most influential composers. Browse all our 2017/18 concerts at lpo.org.uk/newseason In the meantime, we’ll be busy over the summer performing at Glyndebourne Festival Opera from May until September, and at the BBC Proms at the Royal Albert Hall (6 September). We’re also looking forward to our annual Debut Sounds concert on 12 July at St John’s Smith Square, showcasing new works by five young composers conducted by Magnus Lindberg. We’ll also perform at the Snape Proms in Aldeburgh with Renée Fleming (24 August) and at the Enescu Festival in Bucharest in early September. Find out more about all our performances at lpo.org.uk

Das Rheingold: A Golden Gala Evening Saturday 27 January 2018 | 6.00pm Royal Festival Hall Wagner Das Rheingold Vladimir Jurowski conductor plus soloists including Sofia Fomina, Anna Larsson, Matthias Goerne and Matthew Rose

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

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

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

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Tina Gruenberg Grace Lee Amanda Smith Morane Cohen-Lamberger Alice Cooper Hall Jacqueline Martens Eleanor Bartlett Second Violins Philippe Honoré Guest Principal Helena Smart Jeongmin Kim Chair supported by Friends of the Orchestra

Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Sioni Williams Sheila Law Rebecca Dinning John Dickinson

Violas David Quiggle Guest Principal Gregory Aronovich Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Alistair Scahill Isabel Pereira Stanislav Popov Daniel Cornford Martin Fenn Richard Cookson Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Santiago Carvalho† Chair co-supported by Molly & David Borthwick

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

Sue Sutherley Susanna Riddell Tom Roff George Hoult Double Basses Kevin Rundell* Principal Sebastian Pennar Laurence Lovelle Lowri Morgan Charlotte Kerbegian Laura Murphy Jakub Cywinski Iván Rubido González

Horns David Pyatt* Principal

Flutes Juliette Bausor Principal Ian Mullin Luke O’Toole Stewart McIlwham*

Chair supported by Sir Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Alex Wide Gareth Mollison

Piccolo Stewart McIlwham* Principal

Trumpets Paul Beniston* Principal Anne McAneney*

Oboes Ian Hardwick* Principal Alice Munday Henry Clay Jennifer Brittlebank

Chair supported by Geoff & Meg Mann

Catherine Knight Trombones Mark Templeton* Principal

Cor Anglais Jennifer Brittlebank

Chair supported by William & Alex de Winton

David Whitehouse

Clarinets Joan Enric Lluna Guest Principal Thomas Watmough Paul Richards Emily Meredith

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal

Bass Clarinet Paul Richards Principal

Timpani Simon Carrington* Principal

Bassoons Jonathan Davies Principal Gareth Newman Emma Harding Simon Estell* Contrabassoon Simon Estell* Principal

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

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

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Dr Barry Grimaldi • Victoria Robey OBE • Eric Tomsett

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

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

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

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

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

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

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London Philharmonic Orchestra

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

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

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Belief festival in partnership with Southbank Centre continues to the end of 2017, exploring what it means to be human in the 21st century. Then, in 2018, we explore the life and music of Stravinsky in our new series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: the 2016/17 season included visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland, and tour plans for 2017/18 include Japan, Romania, the Czech Republic, Germany, Belgium, Austria and France.

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. In 2017/18 we celebrate the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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

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

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

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Christoph Eschenbach conductor

A profoundly humane performance that blended the intimate with the monumental.

The Guardian, April 2016 (Eschenbach conducts Brahms’s German Requiem with the London Philharmonic Orchestra & Choir, Royal Festival Hall)

In demand as a distinguished guest conductor with the finest orchestras and opera houses throughout the world, in 2010 Christoph Eschenbach began his tenure as Music Director of the National Symphony Orchestra in Washington DC, as well as Music Director of the city’s John F Kennedy Center for the Performing Arts. He was formerly Music Director of the Orchestre de Paris (2000–10), The Philadelphia Orchestra (2003–08), the NDR Symphony Orchestra (1998–2004) and the Houston Symphony (1988–99). He is regularly invited to perform at prestigious music festivals including Salzburg, Prague, Tanglewood, Ravinia, Schleswig-Holstein, Rheingau, St Petersburg and Granada. As a pianist, he continues his fruitful collaboration with baritone Matthias Goerne performing worldwide and recording recitals of the romantic Lieder repertoire of Schubert, Brahms and Schumann. A prolific recording artist for over five decades, Eschenbach has an impressive discography as both conductor and pianist on a number of prominent labels. Recordings range from Bach to contemporary works and reflect his commitment to all genres of classical music. His Hindemith CD with violinist Midori and the NDR Symphony Orchestra received a Grammy Award in 2014. With the London Philharmonic Orchestra he has recorded several works for the Orchestra’s own label: Bruckner’s Symphony No. 6 (LPO-0049), Beethoven’s Missa Solemnis (LPO-0061; see opposite) and, most recently, Messiaen’s Des canyons aux étoiles (LPO-0083).

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Christoph Eschenbach was mentored by George Szell and Herbert von Karajan, and it is important to him to pass on his own musical knowledge and experience. He dedicates time each season to run masterclasses and orchestra academies for young performers, such as at the Schleswig-Holstein Academy Orchestra, the Kronberg Academy and the Manhattan School of Music. His many honours include the Légion d’Honneur, the Commandeur dans l’Ordre des Arts et des Lettres, the Commander’s Cross of the German Order of Merit, and the Leonard Bernstein Award from the Pacific Music Festival. In 2015 he received the Ernst von Siemens Music Award in honour of his life’s dedication to music. christoph-eschenbach.com

Eschenbach conducts Beethoven’s Missa Solemnis on the LPO Label Christoph Eschenbach conductor Anne Schwanewilms soprano Annette Jahns mezzo-soprano Nikolai Schukoff tenor Dietrich Henschel bass London Philharmonic Orchestra & Choir LPO-0061 | £9.99 Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), the Royal Festival Hall shop and all good CD outlets.

Justina Gringytė

soprano

mezzo-soprano

Rising British soprano Susanna Hurrell recently made her debut at the Royal Opera House, Covent Garden as Lauretta in Puccini’s Gianni Schicchi under Nicola Luisotti. This season’s highlights include Handel’s Messiah with the Royal Northern Sinfonia and with the Mozart Festival Orchestra; the title role in Purcell’s Dido and Aeneas with The English Concert in Lausanne; and Bach’s Mass in B minor with Paul Brough and the BBC Singers. She will also return to the Royal Opera House to sing the title role in the world premiere and a UK tour of Ravi Shankar’s opera Sukanya with the London Philharmonic Orchestra.

2015 International Opera Awards Young Singer of the Year, Lithuanian mezzosoprano Justina Gringytė is hailed for her ‘knockout technique’ (The Times). She has captivated the classical press in the title role of Carmen for English National Opera, Scottish Opera, the Teatro Nacional de São Carlos in Lisbon, the Teatro Massimo in Palermo, Lithuanian National Opera, the Novosibirsk Opera House, and semi-staged concert performances in Moscow and St Petersburg.

Recent operatic highlights include the world premiere of Philip Venables’s 4.48 Psychosis for the Royal Opera at the Lyric Hammersmith; Rosalinde in Strauss’s Die Fledermaus for Opera Holland Park; Mélisande in Debussy’s Pelléas et Mélisande with English Touring Opera; Dido in Purcell’s Dido and Aeneas with The English Concert; Despina in Così fan tutte at Opéra de Limoges; Norina in Don Pasquale at Longborough Festival Opera; and Erisbe in Cavalli’s L’Ormindo with The Royal Opera at the Sam Wanamaker Playhouse. On the concert platform, Susanna Hurrell has performed Handel’s Messiah with the Royal Liverpool Philharmonic Orchestra, Fauré’s Requiem with the Royal Philharmonic Orchestra, Pergolesi’s Stabat mater with the Orchestra of the Age of Enlightenment, Britten’s Les Illuminations at the ROH Linbury Studio Theatre, Haydn’s Nelson Mass with András Schiff, Handel’s Messiah and Fauré’s Requiem at the Royal Albert Hall (the latter recorded by EMI Classics), and operatic arias for a BBC Proms ‘Out and About’ event with the BBC Symphony Orchestra.

Susanna Hurrell

On the opera stage Justina Gringytė has sung Fenena in Nabucco with Welsh National Opera; Maddalena in Rigoletto at London’s Royal Opera House and the Teatro Real Madrid; and Hänsel in Hänsel und Gretel for Vilnius City Opera. She also performs regularly with the Bolshoi Theatre in Moscow, where her performances include Maddalena in Rigoletto and Marguerite in La damnation de Faust. Looking ahead to the 2017/18 season, Justina Gringytė will sing the roles of Preziosilla and Curra in a new David Pountney production of La forza del destino with Welsh National Opera. On the concert platform recent highlights include a recital of Rachmaninoff songs with Julius Drake in Antwerp; a Wigmore Hall recital with Iain Burnside; Verdi’s Requiem with the Simón Bolívar Orchestra conducted by Gustavo Dudamel; and Mahler’s Symphony No. 8 with Esa-Pekka Salonen and the Philharmonia Orchestra. Following her initial voice studies at Lithuania’s Academy of Music and Theatre, Justina Gringytė joined the Royal Welsh College of Music and Drama and London’s National Opera Studio. She is a former Samling Artist and Jette Parker Young Artist.

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David Butt Philip

Jihoon Kim

tenor

bass

British tenor David Butt Philip is an alumnus of the Jette Parker Young Artists Programme at the Royal Opera House. In 2014, shortly after completing the programme, he made a hugely acclaimed English National Opera debut as Rodolfo in La bohème. This season he makes his role debuts as Erik (The Flying Dutchman) in Lille and Luigi (Puccini’s Il tabarro) with Opera North, and returns to Glyndebourne Festival Opera to sing Laertes in a new commission of Shakespeare’s Hamlet by Brett Dean, with Vladimir Jurowski and the London Philharmonic Orchestra. Concert engagements include Froh in Das Rheingold and The Dream of Gerontius, both with the Hallé Orchestra and Sir Mark Elder; Beethoven’s Symphony No. 9 with the Yomiuri Nippon Symphony Orchestra in Tokyo as well as tonight with the LPO; The Dream of Gerontius at the Musikverein in Vienna; and his US debut as Froh at the Tanglewood Festival with Andris Nelsons. Further ahead David makes his debut at the Teatro Real Madrid and returns to the Royal Opera House and English National Opera. Recent engagements include Grigory in a new production of Boris Godunov at the Royal Opera House, which he subsequently reprised at the BBC Proms; Pinkerton (Madam Butterfly) at ENO; and Laca (Jenůfa) at Opera North.

Winner of the Audience Prize at the Ferruccio Tagliavini International Singing Competition and First Prize at the Luigi Illica and Alfredo Giacomotti International Singing Competitions, Jihoon Kim, born in Korea, studied at the National University of Seoul and the Giuseppe Verdi Conservatory in Milan. He was a member of the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, subsequently becoming a Jette Parker Principal and a Company Principal. His many roles for the Royal Opera have included Alessio (La sonnambula), Hector’s Ghost (Les Troyens), Wagner (Faust), Chevalier/Priest (Robert le diable), Second Armed Man (The Magic Flute), Colline (La bohème), Sciarrone (Tosca), Tom (Un ballo in maschera), Flemish Deputy (Don Carlo), Count Ceprano (Rigoletto), Pietro (Simon Boccanegra), Dr Grenvil (La traviata) and Hermann Ortel (Die Meistersinger von Nürnberg). He also appeared with the Royal Opera as Doctor (Macbeth) on tour to Japan and Monterone (Rigoletto) at the Operalia Gala. Engagements elsewhere have included Timour (Le roi de Lahore), Silva (Ernani) and Ferrando (Il trovatore) for Chelsea Opera Group; Ashby (La fanciulla del West), The Monk (Don Carlo) and Old Hebrew (Samson et Dalila) at the Palau de les Arts, Valencia; Beethoven’s Symphony No. 9 with the Seoul Philharmonic Orchestra; and Shostakovich’s Symphony No. 14 with Southbank Sinfonia. Jihoon Kim’s current engagements include Colline (La bohème) and Bonze (Madam Butterfly) for Welsh National Opera; Sarastro (The Magic Flute) for Longborough Festival Opera; Angelotti (Tosca) for Grange Park Opera; and a return to the Royal Opera House during the 2017/18 season.

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London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Ian Frost | Choir Manager Tessa Bartley

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs and this season celebrates its 70th anniversary. At its very first concert, on 15 May 1947, the Choir performed the work we hear tonight: Beethoven’s Symphony No. 9. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Highlights in recent years have included Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; Haydn’s The Creation with Sir Roger Norrington; and Mozart’s Requiem under Nathalie Stutzmann. The Choir was delighted to celebrate its 70th anniversary in April with a highly acclaimed performance of Tallis’s Spem in alium and Mahler’s Symphony No. 8 under Vladimir Jurowski. The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. The Choir has appeared twice at the Touquet International Music Masters Festival, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem. Last season it travelled to Brussels, performing Szymanowski’s Stabat Mater and Zemlinsky’s Psalm 23. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. lpc.org.uk facebook.com/LondonPhilharmonicChoir twitter.com/lpchoir

Sopranos Annette Argent Kezia Baddiley Chris Banks Tessa Bartley Hilary Bates Catherine Boxall Hannah Boyce Vicki Brammall Laura Buntine Cordelia Burch Carole Cameron Charlotte Cantrell Olivia Carter Paula Chessell Emily Clarke Sally Cottam Harriet Crawford Olivia Crawford Antonia Davison Sarah Deane-Cutler Victoria Denard Lucy Doig Rachel Gibbon Jane Goddard Lydia Grant Jane Hanson Rebecca Harries Catherine Harris Lucie Holcova Jenni Kilvert Olivia Knibbs Elsa Korning Joy Lee Clare Lovett Janey Maxwell Meg McClure Katie Milton Harriet Murray Mariana Nina Linda Park Rosie Philpott Stephanie Rawlins Rebecca Sheppard Sarah Skinner Victoria Smith Charlotte Stacey Tania Stanier Katie Stuffelbeam Susan Thomas Sarah Van Staveren Susan Watts Joanna Webster Charlotte Wielgut Rochelle Williams

Altos Deirdre Ashton Phye Bell Sally Brien Shayanne Campbell Andrei Caracoti Noel Chow Helen Clough Liz Cole Sara de la Serna Andrea Easey Carmel Edmonds Sarah Finkemeyer Pauline Finney Regina Frank Kathryn Gilfoy Bethea HansonJones Rebecca Herman Judy Jones Marissa Landy Andrea Lane Claire LawrenceSmales Ethel Livermore Lisa MacDonald Laetitia Malan Ian Maxwell Malvina Maysuradze Annabeth MurphyThomas John Nolan Angela Pascoe Anna Read Carolyn Saunders Susi Underwood Jenny Watson

Tenors Jorge Aguilar David Aldred Nick Arratoon Chris Beynon James Clarke John Farrington Fred Fisher Alan Glover Peter Goves Patrick Hughes Stephen Hodges Tony Masters Luke Phillips Knut Olav Rygnestad Jaka Škapin Owen Toller Claudio Tonini Martin Yates Basses John Bandy Jonathon Bird Peter Blamire Gordon BukyWebster Filipe Caetano Geoffrey Clare Phillip Dangerfield Marcus Daniels Thomas Fayle Halldor Fossa Ian Frost Christopher Gadd Christopher Harvey Nicholas HennellFoley Joseph Hewson Mark Hillier Stephen Hines Jake Houghton Martin Hudson Alan Jones David Kent Luke Marriot John G Morris John D Morris William Parsons Johannes Pieters Jonathan Riley John Salmon Peter Sollich Trevor Watson Jair Wuilloud James Wilson Hin-Yan Wong John Wood

instagram.com/lpchoir

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Programme notes

Magnus Lindberg

Two Episodes (2016)

born 1958

Magnus Lindberg’s Two Episodes attempt – perhaps for the first time in the history of music – to mirror a procedure one occasionally finds in architecture: it is the equivalent of adding a modern portico to some old and revered building, since Lindberg intended it to be a complement to Beethoven’s Ninth Symphony. And, just as such a new piece of architecture might pick up details from the earlier construction, so Lindberg’s Two Episodes share some DNA with Beethoven’s masterpiece. Lindberg has a particular fondness for Beethoven: If I was really pressed to choose just one composer from the classical canon it would have to be Beethoven, because he stands out as an example of what it is to be a contemporary composer – just as much as figures like Iannis Xenakis in my own lifetime. I’ve re-examined his late works with fresh ears in preparing for this composition, to create music that leads naturally to the amazing opening of the Ninth Symphony but which can also have an independent life of its own. The title of this work, compared to those of Lindberg’s previous pieces – Arena, Aura, Joy, Kinetics – may seem understated. But, as the composer explains, Two Episodes falls naturally into two distinct sections: One is linked to the massive impact of Beethoven’s first movement, with its immense tutti writing, full of bold sounds and energy, while the second is closer to the beauty of the slow movement and acts as a bridge towards the open fifth A and E and its D minor destination [the key of Beethoven’s Ninth]. For obvious reasons, I’ve kept well away from all references to Beethoven’s finale, which has to leap out on its own terms. Rather than incorporate quotations, I’ve embedded a number

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of Beethovenian allusions, so there are clear aural links, and the orchestration matches the symphony, so it has a ‘period’ colour, without the harp, piano and exotic percussion that feature in many of my works. Lindberg admits that the harmonic world is naturally later than Beethoven’s, but the idea is that it also points to where the great revolutionary may have been heading. As a composer who has been attuned to the French Spectralists – composers creating new harmonies and sound-worlds resulting from a study of the constituent overtones of a given pitch – he has, he says, tried ‘to find a modern equivalent of classical functional harmony built from the spectral series’. The dotted-rhythm falling interval of the fifth that opens the Beethoven saturates the texture of Two Episodes from the start: a semitonal trumpet fanfare sets up the repeated figuration that provides much of the material of the highly rhythmic first ‘episode’, while the winds suggest the opening gesture of the Beethoven. Towards the end of this first ‘episode’, a chorale-like sequence in the strings, with sharp rhythmic interjections from timpani, basses and bassoon, prepares the way for the second ‘episode’, which opens with scalic figurations from a trumpet solo and horns; but the opening fanfare and Beethoven’s dotted rhythm are threaded through it to ensure continuity. As the excitement mounts, the music seems somehow to ‘discover’ the opening of Beethoven’s Symphony. A connection to the music of the past is far more important for Lindberg than for many of his colleagues, as he is happy to admit:

I still believe contemporary music can find a way to enjoy the same rhetorical excitement of language as that employed by the classical composers. I’m pursuing such vital ingredients as modulation, harmonic rhythm, question and answer, stasis and movement. This is related to the hierarchy between chords and how they are sequenced in chains, and I’ve built a vocabulary of chords from the spectral series, particularly using the odd-numbered overtones. A central harmony is the ‘Tristan’ chord

used by Wagner, which can be spectrally derived and is a pivot chord for multiple series of linked progressions. So this chord and its relations can often be heard, giving the new work a distinctive colour. The London Philharmonic Orchestra gave the world premiere of Two Episodes at the BBC Proms at London’s Royal Albert Hall on 24 July 2016, conducted by Vladimir Jurowski. Programme note © Martin Anderson

Magnus Lindberg: LPO Composer in Residence Finnish composer Magnus Lindberg became the London Philharmonic Orchestra’s Composer in Residence for three years from the beginning of the 2014/15 season. Last season's highlights with the LPO at Royal Festival Hall included a performance of his Gran Duo, and the world premiere of his Violin Concerto No. 2 with soloist Frank Peter Zimmermann. His Two Episodes was premiered by the LPO at last year’s BBC Proms. Previous highlights with the Orchestra include the 2015 world premiere of Accused with soprano Barbara Hannigan. Lindberg also plays an active role in the Orchestra’s education activities, mentoring the five participants on the annual LPO Young Composers scheme, and he will conduct the annual Debut Sounds concert on 12 July 2017 at St John’s Smith Square showcasing the young composers' new works. Lindberg was born in Helsinki in 1958. Following piano studies, he entered the Sibelius Academy where his composition teachers included Einojuhani Rautavaara and Paavo Heininen. His compositional breakthrough came with two large-scale works, Action–Situation–Signification (1982) and Kraft (1983–85), which were inextricably linked with his founding with Esa-Pekka Salonen of the experimental Toimii Ensemble.

Lindberg was Composer in Residence of the New York Philharmonic from 2009–12, with new works including the concert-opener EXPO premiered to launch Alan Gilbert’s tenure as the orchestra’s Music Director, Al Largo for orchestra, Souvenir for ensemble, and Piano Concerto No. 2 premiered by Yefim Bronfman in 2012. Lindberg’s music has been recorded on the Deutsche Grammophon, Sony, Ondine, Da Capo and Finlandia labels. He is published by Boosey & Hawkes. Reprinted by kind permission of Boosey & Hawkes

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Programme notes and text

Ludwig van Beethoven 1770–1827

Symphony No. 9 in D minor, Op. 125 (Choral) (1823–24) 1 Allegro ma non troppo, un poco maestoso 2 Molto vivace 3 Adagio molto e cantabile 4 Presto

Susanna Hurrell soprano Justina Gringytė mezzo-soprano David Butt Philip tenor Jihoon Kim bass London Philharmonic Choir The text and translation begin on the right-hand page.

Friedrich Schiller’s poem ‘Ode to Joy’ could almost have been calculated to appeal to the idealistic Beethoven. Written in 1785, it lauds the joys of fellowship, the happiness of married life, the wonders of nature and the universe and the eternal mystery of divine love, and as early as 1793 Beethoven was considering setting it as a song. In 1812 he attempted a ‘choral overture’ using parts of the text, but it was not for another decade that he was to find a true home for it when he made it the subject of the extraordinary and revolutionary finale to his Ninth and last symphony, the first ever to include a choral movement. It was not just accommodating Schiller’s words that took a long time, however. Although the Symphony was essentially composed in a ten-month burst between April 1823 and January 1824, there is a case for saying that Beethoven had been writing it for much longer – he had contemplated a D minor symphony as early as 1812, immediately after the completion of the Seventh and Eighth, while some of its musical ideas date back even further. Not that these matters would have concerned the audience at the work’s first performance in Vienna’s Kärntnerthor Theatre in May 1824; for them the excitement lay in hearing Beethoven’s first new symphony in twelve years, and they lapped it up. At the end the applause was thunderous, and the deaf composer was turned around by the contralto soloist Caroline Unger to see hats and handkerchiefs being 14 | London Philharmonic Orchestra

waved frantically all over the hall. ‘The whole audience was impressed, crushed by the greatness of your work’, wrote Beethoven’s friend Anton Schindler. Vienna may not have always appreciated Mozart to the full, and may not always have understood what Beethoven was about, but it certainly loved its presiding musical genius. The Ninth is not, strictly speaking, Beethoven’s last symphony – in 1825 he began but failed to complete another – but it is certainly a fitting summation of his mighty contribution to the genre’s history. His achievement had been nothing less than that of bringing about an irreversible transformation in the entire concept of what a symphony is, turning a piece of concert music designed primarily to entertain into a psychological journey in which, over the course of four movements, the listener’s emotions undergo some kind of change. This could be triumph over adversity, as in the death and rebirth of the Third Symphony (the ‘Eroica’), or a passage from darkness to light as demonstrated in the famous Fifth Symphony. In the Ninth, it is a journey from a bleak and brutal void to a glorious vision of an ideal world of love, tolerance and universal brotherhood. Certainly the shimmering strings that open the first movement seem to conjure a mood of primeval emptiness before the music moves on into more

combative regions. At the end, a sternly resolute theme emerges from the depths like a clenched fist. The second movement seems straightforwardly joyful with its playful timpani beats (spontaneously applauded at the first performance), its interplay between the violins and its cheeky ending, but there is more than a hint of seriousness underlying it as well. The third movement is unambiguous in intent, however, a sublimely tender and beautiful set of variations on a tune whose deceptively simple hymn-like nature is a Beethoven speciality, above all in ‘late-period’ works. And then the finale bursts in, startlingly and radically. At first the orchestra reviews themes from all three earlier movements, with the cellos and basses seeming to debate their worth in melodic phrases that deliberately mimic the style of vocal recitative. It is as if

they are struggling to tell us something, yet it is also a dramatically enhanced continuation of the fragmentary, groping introductions to the finales of two earlier symphonies, the First and the Third. Eventually, though, the orchestra hits on the now-famous folksonglike theme, but after they have played a few variations on it, another upheaval leads to the first human sounds – a bass soloist commanding us all to discard all this in favour of ‘more pleasing and joyful’ sounds. These words are Beethoven’s, but from here to the end it is Schiller’s message that dominates, and as the voices take over we hear in the course of further variations on the theme a vision of Elysium that is by turns exultant and awestruck. ‘This gigantic work’, Hans Keller suggested, ‘should convince even the firmest pessimist that mankind’s life has been worthwhile.’ Programme note © Lindsay Kemp

O Freunde, nicht diese Töne! Sondern lasst uns angenehmere anstimmen, und freudenvollere!

O friends, not these sounds! Rather let us strike up something more pleasing and joyful!

Text by the composer Ode ‘An die Freude’

Ode ‘To Joy’

Freude, schöne Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder Wo dein sanfter Flügel weilt.

Joy, lovely spark of the divine, Daughter from Elysium, Drunk with fire, we approach, Heavenly one, thy shrine! Thy spells reunite What convention has torn apart; All humanity becomes brothers Where thy gentle wings rest.

Wem der grosse Wurf gelungen Eines Freundes Freund zu sein, Wer ein holdes Weib errungen Mische seinen Jubel ein! Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund.

Let him who has that great good fortune A friend’s friend to be, Let him who has gained a charming wife Join in rejoicing! Yes, and whoever calls even one soul Upon the earth his own! And he who never could, let him steal weeping away. Continued overleaf London Philharmonic Orchestra | 15

Text continued

Freude trinken alle Wesen An den Brüsten der Natur, Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund geprüft im Tod, Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott!

All creatures drink joy At Nature’s breast, All the good, all the evil Follow her rosy trail. She gave us kisses and the vine, A proven friend to the death, The worm was given sensual feelings, And the cherub stands before God!

Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.

Glad, as his suns race Through the heavens’ glorious design, Run your course, brothers, Joyful, like a hero to the victory.

Seid umschlungen, Millionen, Diesen Kuss der ganzen Welt! Brüder, überm Sternenzelt Muss ein lieber Vater wohnen.

Be embraced, you millions, This kiss for all the world! Brothers, above the starry firmament A loving father must dwell.

Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such’ ihn überm Sternenzelt! Über Sternen muss er wohnen.

Do you fall to your knees, you millions? Do you feel the Creator’s presence, world? Seek him above the starry firmament! Above the stars he must dwell.

Friedrich Schiller (1759–1805)

Beethoven’s Symphony No. 9 on the LPO Label Beethoven: Symphony No. 9 in D minor (‘Choral’) Klaus Tennstedt conductor Lucia Popp soprano Ann Murray mezzo soprano Anthony Rolfe Johnson tenor René Pape bass London Philharmonic Orchestra & Choir

‘The listener sits on a knifeedge throughout, as if on a stage-coach drawn by galloping horses on a precipitous mountainside road. The ride is exhilarating.’ The Sunday Times

£9.99 | LPO-0026 Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Download or stream online via iTunes, Spotify, Amazon and others

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Sound Futures donors

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

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

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

London Philharmonic Orchestra | 17

Thank you

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

Artistic Director’s Circle An anonymous donor Victoria Robey OBE

Eric Tomsett Laurence Watt Michael & Ruth West

Orchestra Circle Natalia Semenova & Dimitri Gourji The Tsukanov Family

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

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

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

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

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

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

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

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

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

London Philharmonic Orchestra | 19

Administration

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

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager