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NOISES Landmark classics inspired by the British Isles 1689 – 2019
Concert programme
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 Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM
Southbank Centre’s Royal Festival Hall Friday 8 February 2019 | 7.30pm
Mendelssohn Overture, Ruy Blas (7’) Chopin Piano Concerto No. 1 in E minor, Op. 11 (39’) Interval (20’) Elgar Symphony No. 2 in E flat major, Op. 63 (54’)
David Parry conductor Vanessa Benelli Mosell piano
Tonight’s soloist, Vanessa Benelli Mosell, will be signing a selection of her CDs in the Level 2 Foyer after the concert.
The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
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NOISES Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Kevin Lin 6 Isle of Noises 8 David Parry 9 Vanessa Benelli Mosell 10 Programme notes 13 Recommended recordings Elgar on the LPO Label 14 LPO Player Appeal 2018/19 15 Next concerts 16 Later this month: Beethoven Piano Concerto Cycle 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 a member of staff for assistance. Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location. Explore across the site with Foyles, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Spiritland, Honest Burger, Côte Brasserie, Skylon and Topolski. If you wish to get in touch with us following your visit, please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone us on 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. 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 AND WATCHES should be switched off before the performance begins.
Out now The Spring 2019 edition of Tune In, our free LPO magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic
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Orchestra news
LPO 2019/20 season launch Details of our 2019/20 concerts will available on our website from Monday 18 February, and booking opens on Wednesday 27 February online and via the LPO Box Office. To take advantage of priority booking (from Monday 18 February), become a Friend of the London Philharmonic Orchestra for as little as £60 a year. Call Ellie Franklin on 020 7840 4225 or visit lpo.org.uk/friends
Spring tours: Asia and the USA Next month the Orchestra embarks on a major twoweek tour of Southeast Asia with conductor Vladimir Jurowski and violinist Julia Fischer. This marks our first visit to Taiwan in ten years and our first South Korean tour since 2010. The tour begins on 3 March, when the Orchestra departs Heathrow for the South Korean capital Seoul. There and in the city of Yongin we will perform works by Brahms, Bruckner, Mendelssohn and Strauss, before flying to Taiwan to give concerts in Taipei and Kaohsiung. We’ll then continue to China to perform at Beijing’s National Centre for the Performing Arts, the Concert Hall in Tianjin and the Oriental Art Center in Shanghai, before returning to London on 18 March. In mid-April we jet off again, travelling to New York to give two concerts at Lincoln Center on 14 & 15 April with conductor Edward Gardner, pianist Jean-Efflam Bavouzet and violinist James Ehnes. From there it’s just a short hop to Stamford, Connecticut where we perform the following evening (16 April) at the city’s Palace Theatre. Follow all our touring adventures: twitter.com/lporchestra instagram.com/londonphilharmonicorchestra
On stage tonight
First Violins Kevin Lin Leader Chair supported by The Candide Trust
Minn Majoe Katalin Varnagy Chair supported by Sonja Drexler
Thomas Eisner Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp
Robert Pool Sarah Streatfeild Rebecca Shorrock Amanda Smith Evin Blomberg Georgina Leo Nilufar Alimaksumova Essi Kiiski Katherine Waller John Dickinson Alice Hall Second Violins Helena Buckie Guest Principal Nancy Elan Fiona Higham Chair supported by David & Yi Buckley
Nynke Hijlkema Joseph Maher Ashley Stevens Emma Oldfield Sioni Williams Kate Cole Alison Strange Anna Croad Suzannah Quirke Emma Martin Emma Wragg
Violas David Quiggle Principal Richard Waters Co-Principal Benedetto Pollani Naomi Holt Daniel Cornford Luca Casciato Sarah Malcolm Martin Wray Richard Cookson Charles Cross Julia Kornig Georgina Payne Cellos Pei-Jee Ng Principal David Lale Gregory Walmsley Sue Sutherley Susanna Riddell Tom Roff Helen Rathbone David Bucknall Iain Ward Rosie Banks-Francis Double Basses Kevin Rundell* Principal Hugh Kluger Laurence Lovelle Lowri Morgan Adam Wynter Jakub Cywinski Nathan Knight Aisling O’Reilly Flutes Sue Thomas* Chair supported by Victoria Robey OBE
Hannah Grayson Stewart McIlwham*
Trombones Mark Templeton* Principal
Piccolo Stewart McIlwham* Principal
Chair supported by William & Alex de Winton
Duncan Wilson
Oboes Ian Hardwick* Principal Alice Munday
Bass Trombone Lyndon Meredith Principal
Chair supported by Friends of the Orchestra
Tuba Lee Tsarmaklis* Principal
Cor Anglais Sue BĂśhling* Principal Chair supported by Dr Barry Grimaldi
Clarinets Benjamin Mellefont Guest Principal James Maltby
Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport
Bass Clarinet Paul Richards* Principal
Henry Baldwin Co-Principal Keith Millar Feargus Brennan
E-flat Clarinet Thomas Watmough Principal
Harps Rachel Masters Principal Lucy Haslar
Chair supported by Roger Greenwood
Bassoons Jonathan Davies Principal Laura Vincent Contrabassoon Simon Estell* Principal Horns John Ryan* Principal Chair supported by Laurence Watt
Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann
David Hilton
* Holds a professorial appointment in London Meet our members: lpo.org.uk/players
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Countess Dominique Loredan Sir Simon Robey Bianca & Stuart Roden Eric Tomsett Neil Westreich
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London Philharmonic Orchestra
The London Philharmonic’s closing concert took excellence and courageous programme planning to levels of expectation and emotional intensity more than once defying belief. Here was an orchestra in terrific form, rising to every challenge. Classicalsource.com (LPO at Royal Festival Hall, 2 May 2018: Panufnik, Penderecki & Prokofiev)
One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has 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 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2018 our series
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Changing Faces: Stravinsky’s Journey charted the life and music of one of the 20th century’s most influential composers, and in 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and British-inspired music from Purcell to the present day. 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: highlights of the 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.
Kevin Lin leader
The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include a Poulenc disc conducted by Yannick Nézet-Séguin, Tchaikovsky’s Symphonies Nos. 2 & 3 under Vladimir Jurowski, and a film music disc under Dirk Brossé. 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. In 2017/18 we celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO Young Composers programme; the Foyle Future Firsts orchestral training programme; and the LPO Junior Artists scheme for talented young musicians from communities and backgrounds currently underrepresented in professional UK orchestras. The Orchestra’s work at the forefront of digital engagement and social media has enabled it to reach even more people worldwide: as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra
Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, Kevin has received international recognition for his musicianship and ‘soulful’ playing (The Arts Desk). He has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Pittsburgh Symphony and Houston Symphony, and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster at The Colburn School and The Curtis Institute of Music. An avid chamber musician, Kevin’s recent collaborations include performances with the Tokyo and Ebène quartets, Edgar Meyer, Cho-Liang Lin, Orion Weiss and Andrew Bain. In recent years he has received prizes from the Irving M. Klein International Competition and the Schmidbauer International Competition, and competed in the George Enescu International Violin Competition and the Menuhin International Violin Competition. Kevin spent his early years studying with Patinka Kopec in New York, before going on to study with Robert Lipsett at The Colburn School in Los Angeles, where he received his Bachelor of Music degree. He then continued his studies at The Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.
youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra
Kevin’s chair in the London Philharmonic Orchestra is generously supported by The Candide Trust.
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dward Elgar never felt entirely comfortable at the top. As a new member of a London club, some time in the reign of Edward VII, a fellow composer – Sir Alexander Mackenzie, the well-connected head of the Royal College of Music – saw him dithering over the cheeseboard. ‘Why don’t you try the Port Salut?’ Mackenzie suggested, before lowering his voice to whisper, sarcastically ‘Salut d’Amour’. Elgar might have been knighted; he might have been acclaimed by Richard Strauss as Britain’s pre-eminent modern composer. But his clubbable, expensively-educated British colleagues quietly noticed his awkwardness and his Worcestershire vowels. As to the fact that he’d written bestselling salon favourites like Salut d’Amour; well, they were too polite to suggest that it was just a little bit – you know – common. But once in a while, they’d give him a quick kick in the shins – just to remind him. Elgar was a Roman Catholic – a faith that a mere 30 years before his birth had been denied full civil rights in the UK – and the more you dig into Elgar’s ‘Britishness’, the more complicated it gets. His music never quotes an English folk song even once; its roots are deep in the language of Brahms and Wagner. When Danny Boyle began the London 2012 Olympic opening ceremony with ‘Nimrod’ from the Enigma Variations (performed by the LPO on 9 November 2018), it was supposed to evoke a traditional, rural England. In fact, ‘Nimrod’ is a musical portrait of Elgar’s great friend August Jaeger – a German immigrant. The composer meant it to evoke not green and pleasant fields, but a slow movement by Beethoven. For the ultimate statement of musical Britishness, it’s got surprisingly international roots. Our 2019 Isle of Noises festival takes that paradox and revels in it. This is a celebration of British music that understands that even the most familiar masterpieces
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For nine decades the London Philharmonic Orchestra has been at the heart of music-making in London, in the British Isles and in Europe – and we know that there’s never been any one thing called ‘British music’. Throughout 2019 we’ll be celebrating over three centuries of music in these islands: Richard Bratby introduces our new festival.
have a fascinatingly diverse heritage. Gustav Holst came from an immigrant family, and The Planets (23 October) is a journey towards blissful dissolution (nibbāna, if you like) that takes its philosophical basis from his lifelong fascination with Hindu and Buddhist scriptures. Benjamin Britten might seem like the ultimate Establishment figure, and yes, he used to take tea at Sandringham with the Queen Mother. But the fact that a gay composer (and a conscientious objector into the bargain) could become such a national institution in his own lifetime gives pause for thought. His Violin Concerto (27 September) was written in the USA and draws on Britten’s interest in the Second Viennese School. It’s a story that you encounter again and again throughout British music. The best pieces are the unexpected and obstinate ones, the hybrids that push insolently up through the cracks. When Ralph Vaughan Williams composed his ballet Job (7 December), he called it a ‘Masque’, invoking the era of Purcell and Lawes because he didn’t like the idea of polite audiences commenting ‘oh, did you see God at the ballet?’ In the event, audiences expecting something soothing from the composer of The Lark Ascending saw a green, semi-naked Satan dancing to music of angular strangeness. The agnostic Vaughan Williams came from an oldestablished family
of liberal thinkers (he was related to Charles Darwin): he took his cues from William Blake. Meanwhile, up north: ‘You’ll never hear the thing again, my boy, why not throw in a couple of brass bands?’ said the conductor Thomas Beecham to the 29-yearold William Walton, as he began work on a choral commission for the 1931 Leeds Festival. Walton did just that, and the result – Belshazzar’s Feast (9 November) – is still a shocker: jazzy, raucous, shamelessly pagan. Walton’s chrome-plated self-assurance always played well in America. His Violin Concerto of 1939 (9 October) was written for the great American-Russian violinist Jascha Heifetz, and it has the streamlined, art-deco elegance of some great transatlantic liner. Not that British music needed to cross the Atlantic to hit the big time. The LPO’s evening of classic British film music (1 November) explores the curious fact that the most British love story of all time, Brief Encounter, uses music by Rachmaninoff – and that when another film, Dangerous Moonlight, tried to achieve the same effect, Richard Addinsell’s Warsaw Concerto proved almost indistinguishable from the real thing. Throughout the Edwardian era Edward Elgar worked on a colossal trilogy of New Testament oratorios, each of them conceived as an emotional drama closer in spirit to Wagner or Verdi than Mendelssohn or Parry. He was deeply invested in the story, consulting Jewish liturgical experts about the sound of the shofar in The Apostles (26 October). (He later incorporated this ancient instrument into the score). The result wasn’t just one of the earliest examples of cultural crossover in British music; it was frankly and uncompromisingly passionate. Vulgar, you might even say. ‘I’m told Mackenzie is foaming at the mouth about The Apostles’, wrote Jaeger to Elgar in 1903. This kind of thing just wasn’t British. But if vulgarity means vitality, originality, diversity, it’s been British music’s saviour. Today, the most exciting British composers are those who transgress boundaries and explore new worlds: the late, much missed Oliver Knussen’s fascination with that great Russian eccentric Scriabin, or anything at all by Thomas Adès – a composer who believes that ‘Grand failures are preferable to sneaky successes’. Not that the UK premiere of his Piano Concerto (23 October) is likely to be anything other than a major event (and what does it say that he’s chosen to pair it with The Planets?).
British composer Thomas Adès, whose Piano Concerto receives its UK premiere on 23 October 2019.
There’s no white-walled evasion of taste in Adès’s music. ‘We have a very highly developed nose for phoniness’, he says. ‘We won’t just accept something as sublime or whatever just because it tells us it is.’ In other words, we just have to listen – and if the music has something about it, it’ll speak to us. Isle of Noises ends with an outrage: the Dynamic Triptych by John Foulds (11 December). Foulds was born near Manchester, but moved to Delhi as head of music for the British Raj’s radio network. There, the servant of Empire let his own imagination be captured and transformed by the ancient culture he encountered, and although he died of cholera in 1939, leaving a trunkful of unperformed scores, the works he did complete are like nothing else in 20th-century music. It’s hard to describe the Dynamic Triptych. It’s an exuberant, supersophisticated, utterly vulgar mass of influences, ideas and contradictions – and it sounds fantastic. In other words, it couldn’t be more British. Be not afeard: the isle is full of noises, sounds and sweet airs, that give delight and hurt not. This is your music – discover it. Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. Pick up an Isle of Noises series leaflet as you leave tonight’s ISLE OF concert, or browse our January–May concerts online at lpo.org.uk/isleofnoises. The second half of the festival will be announced with our 2019/20 season launch on 18 February (see page 2).
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David Parry conductor
David Parry conducts with energy and elegance.
© Marco Borrelli
Robin Thicknesse, The Times
David Parry is acknowledged as an inspirational champion of operatic, concert and symphonic repertoire across a vast range. He is known both for the re-appraisal of important lesser-known compositions and for a consistently fresh approach to established repertoire. Significant credits include the world premiere of Jonathan Dove’s The Adventures of Pinocchio (in separate productions for Opera North and Staatstheater Stuttgart); Der fliegende Holländer (for Portland Opera); Madama Butterfly (in Anthony Minghella’s production for English National Opera, which earned him an Olivier Award); Cosí fan tutte and the premiere of Dove’s Flight (both for Glyndebourne Festival Opera); and Maria Stuarda (for Stockholm Royal Opera). David Parry made his operatic debut with La Cenerentola for English Music Theatre, and subsequently joined the conducting staff first at Dortmund then at Opera North. He was Music Director of Opera 80 and founding Music Director of Almeida Opera, with whom he gave world premieres of works by Nigel Osborne, Kevin Volans, Elena Firsova and Param Vir. Other significant world premieres have included Stephen Oliver’s Mario and the Magician at the Batignano Festival, Jonathan Dove’s Tobias and the Angel in 2006 and his oratorio There was a Child at the Norfolk and Norwich Festival in 2009. In the UK David has conducted frequently at ENO, Opera North and Scottish Opera, in repertoire ranging through Mozart, Rossini, Verdi and Britten, and at Garsington Opera, where he is particularly noted for his Rossini.
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International successes include the Spanish premiere of Peter Grimes in Madrid, where he has also conducted The Rake’s Progress and Jenůfa; the Greek premiere of John Adams’s Nixon in China at the National Theatre of Greece; the Dutch premiere of Jonathan Dove’s Flight at the Nationale Reisopera; a new production of Petrushka for Geneva Opera; Lucia di Lammermoor for Opera Murcia; Madama Butterfly at the Perth Festival in Australia; The Magic Flute at Oper Köln; and Don Giovanni at Staatstheater Hannover. He has appeared at the Oviedo Festival and the Quincena Musical de San Sebástian in Spain, and at the Hong Kong International Festival, New Zealand International Festival, New Israeli Opera and Theater Basel. He enjoys a close association with the Staatstheater Stuttgart where, in addition to The Adventures of Pinocchio, he has conducted Don Giovanni, Le comte Ory, The Barber of Seville and Turandot. Much in demand from ensembles both in the UK and further afield, David Parry is regularly at the helm of orchestras including the Philharmonia, RPO, CBSO, Hallé and Academy of St Martin in the Fields. He has an extensive discography for Chandos and Opera Rara. His recording of Rossini’s Ermione won a Gramophone Award for best opera recording 2011. Recent highlights include Mose in Egitto at Oper Köln; Tosca for Nederlandse Reisopera; the world premiere of Jonathan Dove’s Marx in London at Theater Bonn; and concerts with the BBC Symphony, English Chamber, Bournemouth Symphony and Moscow State Philharmonic orchestras.
Vanessa Benelli Mosell piano
Powerful, emotional, romantic and dramatic, she sweeps us along in a dazzling display of assured technique. © Michele Maccarrone
Stephen Pritchard, The Guardian
Vanessa Benelli Mosell is a rising star on the international music scene, much praised for her virtuosity and technical brilliance, and for the sensitivity of the musical insight that she brings to her piano playing, as well as to her conducting and directing from the keyboard. Vanessa is acclaimed for her passion for both the great classics and her championing of new composers. She has received praise for her Stockhausen recordings and for her debut concerto CD of Rachmaninoff’s Piano Concerto No. 2 with the London Philharmonic Orchestra, and is often featured on BBC Radio 3, France Musique and RAI. Tonight’s concert is Vanessa’s debut with the London Philharmonic Orchestra. Other recent highlights include her debuts at the Teatro alla Scala, Milan and at Amsterdam’s Muziekgebouw aan ‘t IJ; a portrait at the National Concert Hall, Dublin for RTÉ, featuring concertos by Rachmaninoff and George Benjamin; and her much-praised conducting debut with the Divertimento Ensemble in Milan. This season Vanessa performs with the Royal Scottish National Orchestra and at the Seoul Arts Centre in South Korea. She will also perform in festivals across Europe and the Middle East, as well as making her concerto debut in the USA. Born in Prato, Italy, Vanessa began her studies at the Imola Academy, making her debut at the age of 11 with Pascal Rogé, who described her as ‘the most natural musical talent I have encountered in my entire life’. She then studied at the Moscow Tchaikovsky Conservatory with Mikhail Voskresensky, and at the Royal College of Music in London, graduating in 2012.
Following Vanessa’s private recording of Karlheinz Stockhausen’s Klavierstücke aged 17, she was invited to study with the composer himself, who believed that she ‘has the power to let people appreciate my music’. Stockhausen remains an important influence on Vanessa, having encouraged her passion for contemporary music and her championing of composers of today, as well as the great classics. Vanessa Benelli Mosell has worked with the Strasbourg Philharmonic, Munich Symphony, Zurich Chamber and Jerusalem Symphony orchestras, and the Moscow Soloists. She has appeared at the Berlin Philharmonie, Philharmonie de Paris, Auditorio Nacional Madrid, Palau de la Música Barcelona, UNESCO Auditorium in Paris and London’s King’s Place, and gave her Wigmore Hall debut in 2012. Vanessa’s debut recording, Introducing Vanessa Benelli Mosell, was released in 2011, and she received great international praise for her ‘extraordinary artistic talent’ and ‘sparkling technique in demanding music’ (Gramophone). This was quickly followed by her equally acclaimed Liszt Recital. Vanessa featured works by Stockhausen on her Decca Classics debut, [R]Evolution, in 2015, and has since released four further CDs for Decca, most recently a disc of Debussy. Her next disc, of Ravel with the Royal Scottish National Orchestra, will be released later this year. Vanessa Benelli Mosell has been supported by the Keyboard Charitable Trust and in 2016 was appointed as a Steinway Artist.
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Programme notes
Speedread This concert begins with two works from the 1830s that are typical of the early Romantic period. Mendelssohn’s Ruy Blas Overture of 1839 was written as a curtain-raiser for a quintessentially Romantic tragedy by Victor Hugo – though the composer disliked the play so much that he virtually ignored it, and instead wrote a piece of generalised dramatic character, enjoyable for its memorable melodies and its full-blooded orchestral writing. Chopin’s youthful Piano Concerto No. 1 of 1830 (actually his second) is an example of the new type of virtuoso concerto that was emerging at the time, in which attention is focussed on the soloist’s expressive melodies and dazzling figuration. This is especially true of the slow movement, a deeply felt nocturne, and the finale, in the Polish dance rhythm of the krakowiak.
Felix Mendelssohn
After the interval, Elgar’s Second Symphony of 1910/11 – performed as part of the LPO’s new series of British music, Isle of Noises – represents one of the peaks of the late-Romantic symphony, fervent and wide-ranging in its expression, and masterly in its handling of a large orchestra. The work was inspired partly by a visit to Italy: Elgar said that the contrast between the stately sorrow of the second movement and the liveliness of the third reflected the contrast between the interior of St Mark’s, Venice and the sunlit piazza outside. But it also has a rich inner landscape, with episodes of nightmarish dread in the first and third movements, and telling appearances in the outer movements of an energetic theme representing the Symphony’s motto, from Shelley: ‘Rarely, rarely, comest thou, Spirit of Delight!’
Overture: Ruy Blas
1809–47
Victor Hugo’s 1838 play Ruy Blas is a sensational verse tragedy about a valet at the court of the Spanish King Charles II, secretly in love with the Queen, who is passed off as a nobleman and rises to become a reforming prime minister; it ends with Ruy Blas, the valet, committing murder and suicide. In March 1839, the Leipzig Theatre Company mounted a production of the play in aid of its pension fund, and asked Mendelssohn to write an overture and chorus for it. Mendelssohn found the play ‘detestable’, but he accepted the commission out of sympathy for the production’s fundraising aims. He wrote the chorus, and eventually added the Overture in two and a half days, during which time he also rehearsed and conducted a concert with the Gewandhaus Orchestra. When he subsequently repeated the piece at another Gewandhaus concert, 10 | London Philharmonic Orchestra
he called it only ‘Overture for the Theatre Pension Fund’. He declined to publish it, and it was issued in print only in 1851, four years after his death. The piece owes conspicuously little to Hugo’s plot, but is nevertheless theatrical and even operatic in its plan. There is an arresting introduction alternating between solemn wind chords and expectant string responses. The string phrases are turned into the first theme of the main Allegro molto; the solemn chords return before the second subject, in which a staccato string idea is smoothed out into a melody for cellos and woodwind; and the opening section is rounded off by a springing, Weber-like idea. A taut development section is followed by a full reprise and a jubilant coda.
Fryderyk Chopin 1810–49
Chopin’s two piano concertos are both early works, written in his native Poland before he reached the age of 21. They were probably inspired by the concertos of John Field and Johann Nepomuk Hummel, and in particular by a visit Hummel made to Warsaw in 1828, in the course of which the eminent pianist and the talented young student became firm friends. The following year Chopin composed his Concerto in F minor, later published as No. 2; then in the spring and summer of 1830 he followed it with the E minor. He gave the first performance of the latter at his farewell concert in Warsaw in October 1830, less than a month before he set out for Vienna and, eventually, Paris – never to return to his homeland. Chopin was very much a specialist composer for the piano, and the orchestral contributions to his youthful concertos have been much criticised: the masterorchestrator Berlioz, for example, called them ‘cold and almost superfluous’. But the instrumental writing in the E minor Concerto, while the full-orchestra sound is on the thick side, does have its merits. The effect of the muted strings in the slow movement is magical; and Chopin gives characterful moments to several of the wind instruments, notably the first horn and the first bassoon.
Piano Concerto No. 1 in E minor, Op. 11 Vanessa Benelli Mosell piano 1 Allegro maestoso 2 Romanze: Larghetto – 3 Rondo: Vivace
In any case, the concertos belong not to the ‘symphonic’ tradition of Mozart and Beethoven, but to the new, lighter genre of the virtuoso concerto, in which the main interest lies in the solo part. The opening movement of the E minor Concerto admittedly begins with a lengthy orchestral prelude; but once the piano has made its entry, it dominates with its bravura figuration, alongside some fine-spun melodies. The E major Romanze has all the intimate intensity of Chopin’s mature nocturnes: it was probably inspired by his undeclared love for the singer Konstancja Gładkowska, and was described by him as ‘giving the impression of someone looking gently towards a spot which calls to mind a thousand happy memories’. The extravert major-key finale strikes a nationalist note – as popular in Warsaw just before the country’s anti-Russian uprising of 1830/31 as it was to be later in Paris – by adopting the springing rhythms of a southern Polish dance, the krakowiak.
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
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Programme notes continued
Edward Elgar 1857–1934
Elgar was an enthusiastic traveller, and especially fond of Italy. It was an Italian trip with his wife Alice in the spring of 1909, and in particular a visit to Venice, that sparked off plans for the second of his two completed symphonies. The Symphony was sketched during 1910, a process which brought together ideas noted over several years, and completed in full score in two months of intensive work at the beginning of 1911. Elgar himself conducted its first performance at the Queen’s Hall in London in May the same year. Its cool reception, a marked contrast with the adulation which had greeted the First Symphony only three years earlier, signalled a downturn in Elgar’s public reputation which his subsequent major works were not to arrest. On the printed score of the Symphony, Elgar bracketed two place-names, Venice and Tintagel – the latter the village on the coast of Cornwall with its historic ruined castle. In April 1910, Elgar had spent a few days there at the summer home of Alice Stuart-Wortley, daughter of the painter Millais, wife of a Conservative MP, and the most inspiring of his various ‘muses’. His passionate friendship with the ‘Windflower’, as he called her, found expression in his Violin Concerto, completed in August 1910, as well as in its immediate successor. In October 1910 he wrote to her: I have also been making a little progress with Symphony No. 2 and am sitting at my table weaving strange and wonderful memories into very poor music I fear. What a wonderful year it has been! With all the sad things in the great public life – the King’s death downwards – the radiance in a poor, little, private man’s soul has been wonderful and new…
12 | London Philharmonic Orchestra
Symphony No. 2 in E flat major, Op. 63 1 Allegro vivace e nobilmente 2 Larghetto 3 Rondo: Presto 4 Moderato e maestoso
And ‘the great public life’ also had a part to play in the complex genesis of the Symphony, which on its completion was dedicated ‘to the memory of His late Majesty King Edward VII’. Elgar inscribed on the manuscript score the first two lines of a poem by Shelley: Rarely, rarely, comest thou, Spirit of Delight! The ‘Spirit of Delight’ is embodied in the Symphony’s unifying motto theme, consisting of a wide-arching arpeggio followed by a plunging descent. This provides an arrestingly energetic start to the opening Allegro vivace e nobilmente (‘lively and noble’), a movement of widely contrasting moods – including, early in the central development section, an episode darkened by menacing percussion which Elgar likened to a nocturnal love scene interrupted by ‘the ghost of some memories’. The second movement begins in the manner of a funeral march, though Elgar was at pains to point out that it was conceived before the death of Edward VII and was an elegiac ‘reflection’ suggested by Shelley’s poem. Its first theme, incorporating the arching curve of the motto, is reprised in the later stages of the movement with a wailing oboe descant which Elgar described as a ‘feminine voice’ lamenting over the ‘manly’ melody. Elgar said that the contrast between this movement and the following scherzo, called Rondo, represented ‘the contrast between the interior of St Mark’s at Venice and the sunlit and lively piazza outside’, which he had observed on his Italian trip. But the brightness of the Rondo is clouded at one point by the return of the dark mood from the first movement, now even more feverishly intense.
In the finale, as Elgar put it, the sorrow expressed in the earlier movements is ‘smoothed out and ennobled’. The movement is as wide-ranging as the first, reaching a strident central climax, and eventually arriving at a serene ending, intermingling echoes of the finale’s first theme and the ‘Spirit of Delight’ motto.
Recommended recordings
Programme notes © Anthony Burton
Mendelssohn: Overture, Ruy Blas Academy of St Martin in the Fields | Neville Marriner (Capriccio)
by Laurie Watt
Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer.
Chopin: Piano Concerto No. 1 Ingrid Fliter | Scottish Chamber Orchestra | Jun Märkl (Linn Records) Elgar: Symphony No. 2 London Philharmonic Orchestra | Adrian Boult (Warner) or London Philharmonic Orchestra | Georg Solti (Decca)
Elgar on the LPO Label
Elgar The Wand of Youth, Suite No. 2 plus works by Arnold, Mahler, Beethoven & Brahms
Elgar Introduction and Allegro Britten Our Hunting Fathers Elgar Variations on an Original Theme (‘Enigma’)
Eduard van Beinum conductor Eugenia Zareska mezzo-soprano London Philharmonic Orchestra
Bernard Haitink conductor Heather Harper soprano London Philharmonic Orchestra
Recorded at Kingsway Hall, London, 1946–1950
Recorded at Royal Festival Hall and Royal Albert Hall, London, 1979–86
LPO–0011 | £9.99
LPO–0002 | £9.99
Elgar Sea Pictures Elgar Symphony No. 1 Vernon Handley conductor Janet Baker contralto London Philharmonic Orchestra Recorded live at Southbank Centre’s Royal Festival Hall, London,on 23 Feburary 1984
LPO–0046 | £9.99
CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), all good CD outlets and the Royal Festival Hall shop. Download or stream online via Spotify, Apple Music and others.
London Philharmonic Orchestra | 13
PLAYER APPEAL 2018/19 BE INSTRUMENTAL TO OUR FUTURE
At the London Philharmonic Orchestra we believe that together we are greater than the sum of our parts. Players, supporters, staff and audience members; this is your LPO and you’re the LPO. We want you to stand with us as we show and share with the world our rare and special passion for the timeless art of orchestral music.
WITH YOUR SUPPORT ...
WE CAN INVEST IN TALENT DEVELOPMENT
WE CAN MAINTAIN OUR GREAT OPERA HERITAGE
This feels incredibly relevant when working with the LPO’s Foyle Future Firsts and Young Composers. Performing side-by-side with young players, playing the music of new composers is crucial. Through my work with the LPO Junior Artists, musicians from currently underrepresented backgrounds, I see incredible talent in those young people. With your support we can help them navigate their journeys.
The players develop a real sense of camaraderie in the pit at Glyndebourne – how could we not when we’re that squashed in!? By contrast, being able to see and interact with singers when we do something like the Ring Cycle at Royal Festival Hall makes for an incredibly exciting experience and brings opera to a wider audience. Please give your support to help us maintain this incredible strand of opera in concert.
KEVIN LIN, CO-LEADER
JULIETTE BAUSOR, PRINCIPAL FLUTE
WE CAN TAKE RISKS AS WE EXPLORE ADVENTUROUS WORKS
WE CAN SHARE THE POWER AND WONDER OF ORCHESTRAL MUSIC WITH THE As an LPO player you never WIDER WORLD sit for long with the same set of notes. It’s a great challenge. We have to raise our game constantly. The demanding and exciting repertoire that you may associate with the LPO helps its players develop but also keeps our audiences on their toes and experiencing new things. With your support we can continue sharing these experiences. THOMAS WATMOUGH, PRINCIPAL E-FLAT CLARINET
I’ve played with the LPO in London, Eastbourne, Glyndebourne, Brighton and all over the world – it’s a thrilling ride! Performing around the UK and the world, concert experiences are always different – that’s what makes it exciting. Please help us ensure that we can continue creating special, shared experiences throughout the UK and around the world.
ELISABETH WIKLANDER, CELLO
We are asking you to be instrumental in our future and in our ability to continue doing all that you know us for. Donate online at lpo.org.uk/donate or call our Individual Giving Team on 020 7840 4212 or 020 7840 4225 to make a donation by credit or debit card.
14 | London Philharmonic Orchestra
GET
CLOSER
NEXT LPO CONCERTS
AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL
FRIDAY 22 FEBRUARY 2019 7.30PM
SATURDAY 23 FEBRUARY 2019 7.30PM
Juanjo Mena conductor Javier Perianes piano
Juanjo Mena conductor Javier Perianes piano
Beethoven Piano Concerto No. 2 Beethoven Piano Concerto No. 3 Beethoven Piano Concerto No. 4
Beethoven Piano Concerto No. 1 Beethoven Piano Concerto No. 5 (Emperor)
Javier Perianes’s Beethoven Piano Concerto Cycle is generously supported by an anonymous donor.
WEDNESDAY 27 FEBRUARY 2019 7.30PM Wagner Overture, Tannhäuser Weber Clarinet Concerto No. 1 Smith Andante for Clarinet and Orchestra Brahms Symphony No. 2 Vladimir Jurowski conductor Andreas Ottensamer clarinet ISLE OF
NOISES
BOOK NOW AT LPO.ORG.UK OR CALL 020 7840 4242 SEASON DISCOUNTS OF UP TO 30% AVAILABLE
London Philharmonic Orchestra | 15
Beethoven Piano Concerto Cycle Juanjo Mena conductor Javier Perianes piano 22 & 23 February 2019 7.30pm Southbank Centre’s Royal Festival Hall
‘He had taken our senses hostage: some impressions will last a lifetime, and this surely is one of them.’ Platea Magazine on Javier Perianes These concerts are generously supported by an anonymous donor.
16 | London Philharmonic Orchestra
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 Querée 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 Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich The Tsukanov Family Dr James Huang Zheng (of Kingdom Music Education Group) Principal Associates Gabor Beyer, through BTO Management Consulting AG In memory of Ann Marguerite Collins Mr & Mrs Makharinsky Associates Steven M. Berzin Richard Buxton Kay Bryan William & Alex de Winton George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons David & Yi Buckley John Burgess In memory of Allner Mavis Channing Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Hamish & Sophie Forsyth Virginia Gabbertas Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Rehmet Kassim-Lakha de Morixe Countess Dominique Loredan Geoff & Meg Mann
Sally Groves & Dennis Marks Robert Markwick & Kasia Robinski Melanie Ryan Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt Silver Patrons Dr Christopher Aldren Peter Blanc Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Will & Kate Hobhouse Matt Isaacs & Penny Jerram John & Angela Kessler The Metherell Family Simon Millward Mikhail Noskov & Vasilina Bindley Susan Wallendahl Guy & Utti Whittaker Bronze Patrons Anonymous donors Michael Allen Andrew Barclay Mr Geoffrey Bateman Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel Mr John L G Deacon David Ellen Ignor & Lyuba Galkin Mrs Irina Gofman David Goldberg Mr Daniel Goldstein David & Jane Gosman Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home Mr James R. D. Korner
18 | London Philharmonic Orchestra
Rose & Dudley Leigh Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Jacopo Pessina Mr Roger Phillimore Mr Michael Posen Tatiana Pyatigorskaya Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr Christopher Stewart Mr & Mrs John C Tucker Andrew & Rosemary Tusa Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Christopher Williams Ed & Catherine Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Margot Astrachan Mr Philip Bathard-Smith Mr Edwin Bisset Dr Anthony Buckland Mr & Mrs Stewart Cohen Sir Alan Collins KCVO David & Liz Conway Mr Alistair Corbett Mrs Alina Davey Guy Davies Henry Davis MBE Mr Richard Fernyhough Patrice & Federica Feron Ms Kerry Gardner Ivan Hurry Per Jonsson Mr Ralph Kanza Ms Katerina Kashenceva Vadim & Natalia Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Christopher Little
Paul & Brigitta Lock Mr Peter Mace Patricia & Michael McLarenTurner Mr John Meloy Andrew T Mills Dr Karen Morton Mrs Jennifer Oxley Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Natalie Pray Mr Christopher Querée Martin & Cheryl Southgate Ms Nadia Stasyuk Matthew Stephenson & Roman Aristarkhov Louise Walton Howard & Sheelagh Watson Des & Maggie Whitelock Liz Winter Bill Yoe Supporters Mr John D Barnard Mr Keith Bolderson Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Christopher Fraser OBE Will Gold Mr Peter Gray Mrs Maureen HooftGraafland The Jackman Family Mr David MacFarlane Mr Frederic Marguerre Mr Mark Mishon Mr Stephen Olton Mr David Peters
Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson Ms Jenny Watson CBE Mr John Weekes Mr Trevor Weston Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Irina Gofman (Russia) Joyce Kan (China/Hong Kong) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen)
We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Xenia Hanusiak Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners IMG Pictet Bank Steppes Travel White & Case LLP
Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK
John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute Newcomen Collett Foundation The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation The Radcliffe Trust Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.
London Philharmonic Orchestra | 19
Administration
Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter
General Administration Timothy Walker AM Chief Executive and Artistic Director
Education and Community Isabella Kernot Education and Community Director
David Burke General Manager and Finance Director
Talia Lash Education and Community Manager
Lucas Dwyer PA to the Chief Executive/ Administrative Assistant
Emily Moss Education and Community Project Manager
Finance Frances Slack Finance and Operations Manager
Hannah Tripp Education and Community Project Co-ordinator
Dayse Guilherme Finance Officer
Development Nick Jackman Development Director
Concert Management Roanna Gibson Concerts Director
Vicky Moran Development Events Manager
Graham Wood Concerts and Recordings Manager Sophie Richardson Glyndebourne & Projects Manager Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter Tours Co-ordinator Matthew Freeman Recordings Consultant
Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Ellie Franklin Development Assistant Georgie Gulliver Development Assistant Kirstin Peltonen Development Associate
Andrew Chenery Orchestra Personnel Manager
Marketing Kath Trout Marketing Director
Sarah Holmes Sarah Thomas Librarians
Mairi Warren Marketing Manager
Public Relations Premier classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335 Archives Philip Stuart Discographer Gillian Pole Recordings Archive Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045.
Christopher Alderton Stage Manager
Megan Macarte Box Office Manager (Tel: 020 7840 4242)
Composer photographs courtesy of the Royal College of Music, London.
Damian Davis Transport Manager
Rachel Williams Publications Manager
Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator
Cover artwork Ross Shaw Printer Cantate
Rachel Smith Website Manager
Laura Kitson Assistant Transport & Stage Manager
20 | London Philharmonic Orchestra
Greg Felton Digital Creative Alexandra Lloyd Marketing Co-ordinator Tom Wright Marketing Assistant