2019/20 concert season at Southbank Centre’s Royal Festival Hall
2004 2002 1904 2003 1902 1804 1903 2009 1802 2006 1803 1909 2001 1906 1809 2007 2010 1806 20081901 1907 2010 1801 1908 1807 2010 1808
Concert programme
Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI Principal Conductor Designate EDWARD GARDNER supported by Mrs Christina Lang Assael Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER CBE AM Chief Executive Designate DAVID BURKE
Southbank Centre’s Royal Festival Hall Saturday 8 February 2020 | 7.30pm
Beethoven Symphony No. 1 in C major, Op. 21 (25’) Péter Eötvös Snatches of a Conversation (12’) Interval (20’) Scriabin Symphony No. 2 in C minor, Op. 29 (52’) Vladimir Jurowski conductor Marco Blaauw trumpet Omar Ebrahim speaker Generously supported by Cockayne and the London Community Foundation.
Join us for a free pre-concert event 6.15–6.45pm | Royal Festival Hall What is the relationship between the past, present and future? Through 2020 Vision we examine what works spanning centuries have to say about one another, and how they enhance our present understanding of them. 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 About the Orchestra 5 Leader: Pieter Schoeman 6 2020 Vision at a glance 8 2020 Vision in focus 10 Vladimir Jurowski 11 Marco Blaauw Omar Ebrahim 12 Programme notes 16 Recommended recordings 17 Sound Futures donors 18 Supporters 20 LPO administration
This concert is being recorded by BBC Radio 3 for broadcast on Friday 14 February at 7.30pm, and will be available for 30 days after broadcast via the Radio 3 website and the BBC Sounds app.
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.
ORCHESTRA NEWS Welcome to our new members We are delighted to announce three new appointments to the Orchestra’s First Violin Section, two of whom are performing in tonight’s concert. Look out for Lasma Taimina and Minn Majoe on stage this evening, and we look forward to welcoming Kate Oswin, who officially joins us in August. All three are alumni of the LPO Foyle Future Firsts training scheme – our annual programme designed to nurture and develop talented orchestral players. lpo.org.uk/futurefirsts
Explore across the site with Foyles, 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 2020 edition of our free LPO magazine, Tune In. Copies are available at the Welcome Desk, Level 2, Royal Festival Hall, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic
2 | London Philharmonic Orchestra
Lasma Taimina, Minn Majoe & Kate Oswin Also on stage this evening is James Fountain, who this week officially takes up his new position of Joint Principal Trumpet alongside current Principal Paul Beniston. James joins us from the Royal Philharmonic Orchestra, where he was appointed Principal Trumpet in 2015 at the age of 20, while still a student at the Guildhall School of Music & Drama. James is also a Professor of Trumpet at the Royal College of Music. Tonight we also officially welcome Laura Murphy to the Orchestra’s Double Bass section. Laura will be a familiar face to many, having played with the Orchestra as an extra for several years. After studies at the Guildhall School of Music & Drama Laura subsequently spent a year in Southbank Sinfonia, and went on to participate in the Hallé/RNCM String Leadership Scheme. She enjoyed a successful freelance career before becoming a member of the Royal Liverpool Philharmonic Orchestra in 2018. Meet our members: lpo.org.uk/players
ON STAGE TONIGHT First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich
Vesselin Gellev Sub-Leader Lasma Taimina Minn Majoe Katalin Varnagy Chair supported by Sonja Drexler
Catherine Craig Thomas Eisner Chair supported by the Chiltern Friends of the LPO
Martin Höhmann Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett
Tina Gruenberg Rebecca Shorrock Georgina Leo Eleanor Bartlett Nilufar Alimaksumova Essi Kiiski Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Emma Oldfield Erzsébet Rácz Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley
Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Helena Nicholls Sioni Williams Mathilde Gheorghiu Sheila Law Alison Strange
Violas David Quiggle Principal Richard Waters Co-Principal Robert Duncan Ting-Ru Lai Katharine Leek Susanne Martens Chair supported by Gill & Garf Collins
Laura Vallejo Naomi Holt Daniel Cornford Sarah Malcolm Luca Casciato Julia Kornig Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden
Pei-Jee Ng Co-Principal Jean Kim Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Tom Roff Helen Rathbone
Flutes Juliette Bausor Principal Sue Thomas*
Trombones Mark Templeton* Principal
Chair supported by Caroline, Jamie & Zander Sharp
Chair supported by William & Alex de Winton
Stewart McIlwham*
David Whitehouse
Piccolo Stewart McIlwham* Principal
Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal
Alto Flute Juliette Bausor
Timpani Simon Carrington* Principal
Oboes Ian Hardwick* Principal Alice Munday
Chair supported by Victoria Robey OBE
Clarinets Benjamin Mellefont Principal
Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport
Chair supported by Friends of the Orchestra
Henry Baldwin Co-Principal
Thomas Watmough Chair supported by Roger Greenwood
James Maltby
Electric Piano/Sampler Catherine Edwards
Tenor Saxophone Martin Robertson Bassoons Jonathan Davies Principal Chair supported by Sir Simon Robey
Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Tom Walley Laura Murphy Charlotte Kerbegian Colin Paris
Gareth Newman Horns Diego Incertis Guest Principal Martin Hobbs Andrew Budden Gareth Mollison Alexander Willett
Assistant Conductor Michael Coleby * 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:
Trumpets Paul Beniston* Principal Chair supported by Donors to the 2019 Gala Player Appeal
James Fountain* Principal Anne McAneney*
The Candide Trust Dr Barry Grimaldi
London Philharmonic Orchestra | 3
LONDON PHILHARMONIC ORCHESTRA
The LPO/Jurowski all-Russian Prom was one of the rarest programmes of the season, sumptuously persuasive about Glazunov’s theme-park Fifth (has the orchestra ever sounded more top-league?) The Arts Desk: ‘Best of 2019’ (BBC Proms 2019: Jurowski conducts Rimsky-Korsakov, Rachmaninoff & Glazunov)
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 concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own 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, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2017 Vladimir Jurowski celebrated his tenth anniversary as the Orchestra’s Principal Conductor. Edward Gardner is currently Principal Conductor Designate, and will take up the position when Jurowski’s tenure concludes in September 2021. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around
4 | London Philharmonic Orchestra
40 concerts each season. This concert marks the launch of our new 2020 Vision series, which features some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier. Outside London, the Orchestra has flourishing residencies in Brighton, Eastbourne and at Saffron Hall in Essex, 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 recent seasons have included 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.
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. We recently 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. Our dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its recordings are available to download and stream and, as well as a YouTube channel and 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 many blockbuster film scores, 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 Mahler’s Symphony No. 4 conducted by Vladimir Jurowski, Mozart chamber works with LPO Principal players, and Ravi Shankar’s only opera, Sukanya.
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.
London Philharmonic Orchestra | 5
at a glance
Tonight’s concert marks the launch of our new 2020 Vision series, exploring the journey of music with pioneering works that have defined the sound of the 21st century, alongside music written exactly 100 and 200 years before. Just as the defining masterpieces of Beethoven and his contemporaries punctuated the first two decades of the 19th century, this series features pieces that provide a snapshot of the definitive sound of the 21st – each one separated by exactly two centuries from Beethoven’s world. A piece from 1801 encounters a piece from 2001. Beethoven meets Adès, Dutilleux and Knussen. Louis Spohr encounters Einojuhani Rautavaara.
2001
NEW CENTURY, NEW SOUNDS
SATURDAY 8 FEBRUARY 2020
Beethoven Symphony No. 1 Péter Eötvös Snatches of a Conversation Scriabin Symphony No. 2 Vladimir Jurowski conductor Marco Blaauw trumpet Omar Ebrahim speaker
Between them, in a world simultaneously like and entirely unlike that of 1820 or 2020, comes the generation of 1900–1920: the composers of the fin de siècle who saw a century remade in war. Who realised that Sibelius’s Second Symphony came exactly a century after Beethoven’s, and that Scriabin, Ravel and Enescu all form part of the same big picture? 2020 Vision brings them together to hear what they have to say to each other, and to us: a fascinatingly fresh perspective on familiar classics, forgotten masterpieces, and the must-hear works of the 21st century.
Free pre-concert event 6.15pm—6.45pm, Royal Festival Hall Join us in examining the past, present and future of music, and what works spanning centuries have to say to each other.
lpo.org.uk/2020vision
2002
All events take place at Southbank Centre’s Royal Festival Hall and begin at 7.30pm. Tickets £14–£46 (Premium seats £65) Transaction fees apply London Philharmonic Orchestra Ticket Office 020 7840 4242 Mon–Fri 10.00am–5.00pm lpo.org.uk Transaction fees: £3.00 online; £3.50 by phone
6 | London Philharmonic Orchestra
Southbank Centre Ticket Office 020 3879 9555 southbankcentre.co.uk Transaction fees apply: £3.50 online; £4.00 by phone. No transaction fees for in-person bookings, Southbank Centre Members and Supporters Circles.
Generously supported by Cockayne Grants for the Arts and The London Community Foundation.
THREE ADVENTURES
WEDNESDAY 19 FEBRUARY 2020 Beethoven Symphony No. 2 Knussen Violin Concerto Sibelius Symphony No. 2 Vasily Petrenko conductor Leila Josefowicz violin Generously supported by Victoria Robey OBE.
2003
FANTASY AND REVOLUTION
SATURDAY 22 FEBRUARY 2020 Jörg Widmann Lied for Orchestra Ravel Shéhérazade Beethoven Symphony No. 3 (Eroica) Dima Slobodeniouk conductor Christine Rice mezzo-soprano
2004
NEW VISIONS
WEDNESDAY 26 FEBRUARY 2020 Elgar In the South Spohr Violin Concerto No. 2 Webern Im Sommerwind Rautavaara Book of Visions Osmo Vänskä conductor Sergej Krylov violin
2006
THE NEW BACCHUS THE EVEREST OF WEDNESDAY 25 MARCH PIANO CONCERTOS 2020 WEDNESDAY 8 APRIL 2020
Beethoven Symphony No. 4 Kaija Saariaho Notes on Light Scriabin Symphony No. 4 (The Poem of Ecstasy)
Méhul Symphony No. 1 Ryan Wigglesworth Augenlieder* Rachmaninoff Piano Concerto No. 3
Omer Meir Wellber conductor Johannes Moser cello
Vladimir Jurowski conductor Sophie Bevan soprano Nikolai Lugansky piano
2007
BEETHOVEN’S FIFTH
SATURDAY 28 MARCH 2020
Sibelius Symphony No. 3 Dutilleux Le temps l’horloge Beethoven Symphony No. 5 Edward Gardner conductor Sally Matthews soprano Generously supported by Mrs Aline ForielDestezet.
2005
2008
FRIDAY 28 FEBRUARY 2020
WEDNESDAY 1 APRIL 2020
POETRY AND BELIEF
2009
LANDSCAPE AND MEMORY
Beethoven Piano Concerto No. 4 Krzysztof Penderecki Chaconne in memory of John Paul II Enescu Symphony No. 1
Ives The Unanswered Question Thomas Adès In Seven Days Beethoven Symphony No. 6 (Pastoral)
Osmo Vänskä conductor Jeremy Denk piano
Vladimir Jurowski conductor Nicolas Hodges piano
*Supported by Resonate. Resonate is a PRS Foundation initiative in partnership with the Association of British Orchestras, BBC Radio 3 and Boltini Trust.
2010
CROSSING CULTURES
WEDNESDAY 22 APRIL 2020
John Corigliano Stomp Philip Glass Double Concerto for violin and cello Shankar Symphony Karen Kamensek conductor Daniel Hope violin Alban Gerhardt cello Anoushka Shankar sitar Generously supported by Cockayne Grants for the Arts and The London Community Foundation.
Generously supported by the Adam Mickiewicz Institute and the Romanian Cultural Institute.
London Philharmonic Orchestra | 7
in focus Richard Bratby takes a closer look at our new series
H
ow do you solve a problem like Ludwig van Beethoven? Or – to put it more precisely – his 250th birthday? Let’s be clear: there’s absolutely no problem with Beethoven. He’s still as central to any great orchestra as Shakespeare is to the Royal Shakespeare Company. Still, where does that leave us when something special is required? A 250th birthday is too big to be ignored, and all the signs are that 2020 is going to be Beethoven’s year on a global scale. But Beethoven never followed the herd; and nor does the LPO. ‘Your genius is centuries in advance’, wrote Prince Galitzin to Beethoven in 1824. So how about using his music not as an excuse to look backwards (always the temptation in classical music), but as a lens through which we can look forward to the 20th, and then the 21st century? That’s the basic idea, and – naturally – it’s called 2020 Vision: an attempt to get Beethoven clearly in perspective from the year 2020. Just as his defining masterpieces punctuated the first two decades of the 19th century, so the LPO has chosen pieces that represent the sound of the 21st – each one separated by exactly two centuries from Beethoven’s world. So Beethoven’s First Symphony (published in 1801) encounters Péter Eötvös’s trumpet concerto Snatches of a Conversation (premiered in 2001) in the series opener on 8 February. The subversive energy of the Second Symphony, composed in 1802, strikes sparks off the magical Violin Concerto of 2002 by the late Oliver Knussen (19 February): a composer who, tragically, has already passed into history. But what a way to remember him! In this way, a celebration of Beethoven’s birthday doubles as a chance to take stock of the 21st century; of where we stand here and now. After all, the century is now two decades old, and pieces that we still think of as brand new are already old enough to vote, drink and get married. And there comes a time in the life of any piece – at least, if it’s destined to last – when a brilliant premiere is no longer enough. It needs and deserves to be heard again. It’s a problem that fascinates LPO Chief Executive and Artistic Director Timothy Walker. ‘I’d been chatting a lot with music publishers about the fact that there are so many great new works being
8 | London Philharmonic Orchestra
written, and that not enough of them are getting the regular performances that they deserve and which they need if they’re to become established repertoire pieces. It occurred to me that we should perhaps have a bit of a moratorium on commissioning new music, and instead look again at the best works that had been written recently. So we came up with this idea of choosing a work from each year of the 21st century, and then programming it with pieces from 100 or 200 years before. I hope we’ll get the audience to start thinking about the fact that these works being written now might well be the works that audiences in a hundred years’ time listen to as regularly as we listen to Beethoven, Prokofiev and Stravinsky.’ That’s quite a claim. ‘Well, there is so much good repertoire. Basically the idea is just to try and get people to understand that, for example, Thomas Adès’s piano concerto In Seven Days is a work that audiences are already demanding to hear on a regular basis. It was written in 2008, and I think this will be our third outing for it already. Tom [Adès] conducted it last season and Vladimir will conduct it this season; and we’ll have had two different soloists playing it. And we know it’s worth it, just from how the audience has reacted. There’s a feeling that you get, there in the hall when you’re sitting as part of the audience: you can just tell when a work appeals.’ And as a retrospective on the 21st-century story so far, 2020 Vision offers a wonderfully diverse cross-section of the contemporary scene. Rautavaara’s nature-inspired Book of Visions (26 February); Penderecki’s powerful 2005 tribute to the late Pope John Paul II (28 February); Dutilleux’s meditation on time Le temps l’horloge (Edward Gardner conducts; 28 March) – these are works that speak to the concerns of a new century as well as to eternal truths. Has it been easy to choose the right pieces? ‘Well, it’s come together in an interesting way, I think – we haven’t chosen pieces just because they fit with the dates. There are some slight wriggles along the way, where we might play a later version of a piece composed in an appropriate year– that sort of thing. I really wanted to include Ravi Shankar’s Symphony [which the LPO
premiered in 2010] and so we decided to have two “full stops”, one at the end of each decade, where we would play only music from 2010 and 2020.’ So Shankar’s Symphony (Shankar’s daughter Anoushka will be playing the sitar solo) will be set alongside American masterpieces from 2010 by Philip Glass and John Corigliano (22 April). The other ‘full stop’ will come in December 2020, and while the full programme for the second half of 2020 Vision is yet to be released, it’s an open secret that the LPO has commissioned a major large-scale work, which will be given its world premiere by the Orchestra in late 2020 to bring the series to an exciting close. But there’s another dimension to the project – and one which offers another opportunity to re-examine both our own time and Beethoven’s. Between Beethoven’s era and ours, in a world simultaneously like and entirely unlike that of 1820 or 2020, comes the generation of 1900–20: the composers of the fin de siècle who saw a world remade in war. So halfway between 1801 and 2001 comes 1901 – and the epic Second Symphony by Alexander Scriabin, the Russian maverick whose art was gradually engulfed by ecstatic, apocalyptic visions (8 February). He reappears in 1906 – when his surging, erotically-charged Poem of Ecstasy throws an iridescent light on music by Kaija Saariaho and, of course, Beethoven: the high-octane Symphony No. 4 (25 March). Sometimes, though, the choice of repertoire is too obvious to resist. For 1909, why wouldn’t you choose to play Rachmaninoff’s huge (and hugely popular) Third Piano Concerto (8 April)? Especially when you’ve got Vladimir Jurowski to conduct and a keyboard lion like Nikolai Lugansky as soloist. ‘We’ve got a big hall of course – 2,800 seats – and that focuses the mind on what’s going to work and what’s going to bring in a good audience’, says Walker. Come for the Rachmaninoff; stay to discover something new! And with such a popular concerto as an anchor, Jurowski is free to explore a song-cycle from 2009 by British composer Ryan Wigglesworth, and – from 1809 – the first symphony of the French composer Étienne Méhul: music charged with the spirit of revolution, and proof positive that Beethoven was not working in a vacuum.
It’s a useful reminder that it’s not just contemporary music that falls between the cracks of history. Set your time machine to 100 or even 200 years ago, and you’ll find plenty of great music that deserves that elusive second hearing. As a violinist, Louis Spohr brought critics to their knees, and he actually played chamber music with Beethoven. So it’ll be intriguing to hear his Second Violin Concerto of 1804, played by Sergej Krylov (26 February). And how about Osmo Vänskä conducting the luminous, youthful First Symphony, written in 1905, by the Romanian George Enescu (28 February) – music in which the LPO has quietly been building a Europe-wide reputation? As Walker explains: ‘We’ve been a regular guest at the Enescu Festival in Bucharest, and of course they often ask us to play Enescu. That focuses your mind on composers that might otherwise not appear so often in London. We’ve prepared these works, and performed them overseas, and this is an opportunity to bring them home. What is interesting is that the Orchestra can learn a new work and then somehow in the intervening months and years digest it – and when they come back to it, it can suddenly be a revelation. The mind does interesting things with that stored memory. It evolves into something really great and dynamic.’ In other words, it makes for a terrific concert. Anniversaries come and go, and if any composer can manage without our help, it’s Beethoven. But 2020 Vision is an attempt to harness his enduring power to help works and composers who, through no great fault of their own, do perhaps need a bit of a rocket-booster to give them the attention they deserve. Whether they’re the classics of tomorrow, or neglected gems awaiting rediscovery, is for you to decide. Meanwhile 2020 Vision invites you to hear Beethoven in a completely new way – and in doing so, to enjoy the wonderful, startlingly modern possibilities of the musical world that he created. – Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. Full concert listings on pages 6–7. Book online at lpo.org.uk/2020vision
London Philharmonic Orchestra | 9
VLADIMIR JUROWSKI Principal Conductor & Artistic Advisor
In Vladimir Jurowski we have a haven of hope. His programmes are always thoughtful, his mind connected to higher ideals and principles.
© Simon Pauly
Classical Iconoclast, 10 November 2018 (LPO at Southbank Centre’s Royal Festival Hall: Debussy, Lindberg, Stravinsky & Janáček)
One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was appointed Principal Conductor of the London Philharmonic Orchestra in 2007, following four seasons as Principal Guest Conductor. In September 2021, when his tenure concludes, he will become the Orchestra’s Conductor Emeritus in recognition of his transformative time with the LPO – over the last 12 years his creative energy and artistic rigour have been central to the Orchestra’s success. In January/February 2021 Vladimir will bring his three-year journey through Wagner’s Ring Cycle with the London Philharmonic Orchestra to a thrilling conclusion with two semi-staged complete Ring Cycles across two weeks at Royal Festival Hall. Vladimir Jurowski will take up the position of General Music Director of the Bayerische Staatsoper, Munich from the 2021/22 season. He is currently Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra, and Artistic Director of the George Enescu International Festival, Bucharest. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir enjoys close relationships with the world’s most distinguished artistic institutions, collaborating with many of the world’s leading orchestras including the Chamber Orchestra of Europe, the Royal
10 | London Philharmonic Orchestra
Concertgebouw Orchestra, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Cleveland and Philadelphia orchestras, the New York Philharmonic and the Chicago and Boston symphony orchestras, and has also conducted the Berlin and Vienna Philharmonic orchestras. A committed operatic conductor, Vladimir’s recent highlights include Strauss’s Die Frau ohne Schatten at the Metropolitan Opera, New York; Wozzeck at the Salzburg Festival; Moses und Aron at the Komische Oper Berlin; his acclaimed debut at the Bayerische Staatsoper with Prokofiev’s The Fiery Angel; and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the London Philharmonic Orchestra. Vladimir’s 2019/20 season brings a particular focus on opera: he opened the season with Die Frau ohne Schatten in Berlin and Bucharest with the Berlin Radio Symphony, and returns to the Royal Opera House Covent Garden to lead a new production of Jenůfa, and to the Komische Oper Berlin for Henze’s The Bassarids. At the Staatsoper Berlin he conducts a new production of Mussorgsky’s Khovanshchina, and in Moscow he conducts performances of Wustin’s Die verliebte Teufel at the Stanislavsky Theatre and Boris Godunov with the State Academic Symphony Orchestra. The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including the complete symphonies of Brahms and Tchaikovsky; Mahler’s Symphonies Nos. 1, 2 & 4; and Rachmaninoff’s Symphony No. 3 and Symphonic Dances.
OMAR EBRAHIM
trumpet
speaker
Marco Blaauw enjoys an international solo career and is a member of Ensemble Musikfabrik in Cologne, Germany. An important focus of his work is to further develop the instrument and its playing technique, and to initiate new repertoire. Marco works in close collaboration with both the established and younger composers of our time. Many composers have written works especially for him, including Péter Eötvös, Georg Friedrich Haas, Rebecca Saunders, Wolfgang Rihm and John Zorn. He also worked intensely with Karlheinz Stockhausen for 17 years.
© Tim Yealland
© Klaus Rudolf
MARCO BLAAUW
Omar Ebrahim became a chorister at the newly-built Coventry Cathedral in 1964, and his subsequent exposure to a vibrant cultural life led him to study singing at the Guildhall School of Music & Drama. He served his performing apprenticeship at the Royal Shakespeare Company and in the chorus of Glyndebourne Festival Opera.
In 2016 Marco initiated ‘Global Breath’, a worldwide research project focussed on the trumpet. The first stage of this research will culminate in a presentation by international pioneers from different genres and cultural backgrounds in a Global Breath festival in 2021.
Omar has been involved with many contemporary opera and concert performances for companies including Glyndebourne Festival Opera; the Royal Opera House and the Linbury Theatre, Covent Garden; Munich Biennale; Tanglewood Festival; Almeida Opera; Basel Opera; Salzburg Festival; Schwetzingen Festival; the Théatre du Châtelet, Paris; and La Monnaie, Brussels. He sang in the premiere of Péter Eötvös’s Angels in America and Liza Lim’s The Navigator in Brisbane, Melbourne, Amsterdam and Moscow. He also sang in a highly-acclaimed performance of Harrison Birtwistle’s The Mask of Orpheus at Southbank Centre’s Birtwistle Festival. In March 2017 Omar performed with the London Philharmonic Orchestra under Vladimir Jurowski in Krzysztof Penderecki’s St Luke Passion at Southbank Centre’s Royal Festival Hall.
Last year Marco intensified his collaboration with painter Gerhard Richter and filmmaker Corinna Belz, producing the soundtrack to the film Moving Picture (946-3), with music for trumpet and live electronics by Rebecca Saunders. From 2020 onwards he will present this project in festivals, concert halls, museums and art galleries.
Other recent successes include Kris Defoort’s The House of the Sleeping Beauties in Brussels, Paris, Amsterdam and Japan; Narrator in John Adams’s A Flowering Tree for Göteborg Opera; Olga Neuwirth’s The Outcast at the Hamburg Elbphilharmonie; and the title role in Tod Machover’s Schoenberg in Hollywood for Boston Lyric Opera.
Marco Blaauw is also intensely active as a teacher. He gives masterclasses internationally and has taught at the International Darmstadt Summer Courses, the Stockhausen Courses Kürten and the Lucerne Festival Academy.
Closely associated with Ligeti’s Aventures and Nouvelles aventures, Omar has performed the works to critical acclaim with ensembles worldwide including Pierre Boulez and the Ensemble Intercontemporain and Esa-Pekka Salonen and the Los Angeles Philharmonic; at the BBC Proms, the Bergen International Festival and New York’s Lincoln Center, also recording the works with Salonen and the Philharmonia Orchestra for Sony.
In 2015 Marco established the trumpet ensemble Monochrome Project. In direct collaboration with composer La Monte Young, he presented an eighttrumpet version of Young’s work The Second Dream of the High Tension Line Stepdown Transformer to audiences across Europe.
Tonight is his debut with the London Philharmonic Orchestra.
London Philharmonic Orchestra | 11
PROGRAMME NOTES NEW CENTURY, NEW SOUNDS For this opening concert of the 2020 Vision series, the three works to be played each find their composers playing with the conventions of musical form. Ludwig van Beethoven used his First Symphony, published in 1801, to reference the style of late Haydn and Mozart. Moreover, he used it to stake a claim as their natural successor, even though it was only in later works that he would find a truly individual voice. By 1901, Russian composer Alexander Scriabin had found his mature voice; his Second Symphony stretched the form beyond the standard four movements into five but played as three cyclical groupings; though
1801 ‘In a word, this is not Beethoven: we are about to meet him.’ This is how composer Hector Berlioz summed up Beethoven’s First Symphony in his essay on the work. Although Berlioz was mindful of Beethoven’s later symphonies – particularly the third onwards. At the age of 29, Beethoven used the Symphony’s Viennese premiere on 2 April 1800 to stake his claim as the heir to classical symphonic tradition. Published in 1801, its conscious debts to the models of late Haydn and Mozart are readily evident. One contemporary critic thought it ‘a caricature of Haydn pushed to absurdity’. That opinion was not universal, however, as another critic recognised the composer’s ‘considerable art, novelty and wealth of ideas’, whilst considering its only flaw ‘the excessive use of wind instruments, so that there was more Harmonie [wind-band] than orchestral music as a whole.’
12 | London Philharmonic Orchestra
he never strayed from traditional tonal language. Hungarian composer/conductor Péter Eötvös’s 21st-century classic, Snatches of a Conversation, dates from 2001. This intriguing work, constructed from fragmentary elements, can appear anarchic at first encounter. Its brief duration sees an intentional dissolution of conventional forms, yet effectively uses eclectic forces to create a unique sound-world. What is not in doubt is the skill, stylistic awareness, wit and intellectual probity of these three composers: each has something distinctive to say, which they do with great individuality and assuredness.
Ludwig van Beethoven (1770–1827) Symphony No. 1 in C major, Op. 21 1 2 3 4
Adagio molto – Allegro con brio Andante cantabile con moto Menuetto: Allegro molto e vivace Adagio – Allegro molto e vivace
Sketches for a Symphony in C major first date from 1795/6, but were abandoned, only to be picked up again in 1799. Beethoven prefaces the opening Adagio molto with an unexpected introduction that weaves from F major and G major, but resolutely avoids the much-anticipated home key. When it arrives, though, the music is propelled forwards with the introduction of the main Allegro con brio theme, which has been compared to Mozart’s ‘Jupiter’ Symphony. The illusion of Classical manners that Haydn and Mozart might have recognised is transformed and given individuality through Beethoven’s denser scoring. The second movement is not especially slow, since it is marked Andante cantabile con moto (with movement). Nor does it plumb emotional depths as one might
expect; rather a theme of fugal intent in the key of F major is given a sardonic character. The recapitulation finds the theme meeting an excitable countermelody; together they embolden each other. Did Beethoven title the third movement a Menuetto out of convention or as a tongue-in-cheek joke? The music itself is a boisterous romp far more akin to a bristling scherzo, with its notable dynamic contrasts. Here Beethoven brings to mind the Minuet of Haydn’s ‘Surprise’ Symphony, before foraying into D flat major and returning to C major via a series of whispered yet strained modulations. The Trio section provides contrast through prominent horn and woodwind chords and skittish string skirmishes. As if he could not resist a further touch of the unexpected, the Allegro molto e vivace finale is prefaced with an Adagio introduction. After that, Beethoven concludes the movement in high spirits: volleys of
notes for the violins start softly and crescendo to louder dynamics. Frequent changes in tempo and the intentional curtailment of proceedings followed by almost immediate re-entry at full pelt make for an irresistible ending.
LPO 2020/21 season launch Booking for our 2020/21 season will open on Tuesday 3 March 2020 online and via the LPO Ticket Office. To take advantage of priority booking (from Tuesday 25 February), become a Friend of the London Philharmonic Orchestra for as little as £60 a year. Call Izzy Keig on 020 7840 4225 or visit lpo.org.uk/support/memberships
RADIO 3 IN CONCERT Enjoy the best concerts from across the UK.
Listen at bbc.co.uk/radio 3 or on the BBC Sounds app
32544 BBC Radio 3_150x105 Adverts.indd 2
27/06/2019 14:27
London Philharmonic Orchestra | 13
PROGRAMME NOTES CONTINUED
2001 A lot can happen in twelve minutes, so it’s best to be alert from the start. Snatches of a Conversation poses a question to the listener: is it really a concerto? Several commentators have called it one, perhaps searching for a label that makes sense to concertgoers. However, after its UK premiere at the 2003 BBC Proms – conducted by the composer and featuring tonight’s soloists – critic Richard Whitehouse called it a ‘fascinating amalgam of chamber music and melodrama. [Eötvös has] produced an intriguing piece which cannot be categorised.’ What cannot be denied, though, is that the innate sense of fun and humour that imbues much of Eötvös’s writing is fully present. Eötvös remarks: ‘Snatches … is as freely composed as an improvisation.’ He invites the listener to imagine a ‘friendly conversation in a coffeehouse, snatches of clever conversation, full of irony … and we trace our way between the tables ... The waiter is a double-bell trumpet ... The soloists do not improvise in this piece.’ Following its world premiere at the 2001 Europäischer Musikmonat in Basel, Snatches… acquired the status of a modern classic. Several further international performances firmly established its popularity amongst Eötvös’s burgeoning output of ensemble works. An inescapable point of interest is the double-bell solo instrument. Built to meet the requirements of a small but growing quantity of contemporary music and championed by tonight’s soloist Marco Blaauw, the instrument allows the player to swiftly alternate between two different tones which can be muted, unmuted or trilled as required, thus allowing for an internal ‘conversation’ of sorts – charged with different moods and emotions – on the instrument.
Péter Eötvös (born 1944) Snatches of a Conversation for double-bell trumpet, speaker and ensemble Marco Blaauw trumpet Omar Ebrahim speaker
A highly individual ensemble is used, consisting of flute, clarinet, saxophone, trombone, vibraphone, marimba, electronic piano with sampled sounds, two violins, viola, cello, double bass and speaker. The ensemble’s material is built from an amalgam of fragmented parts in a mercurial juxtaposition of styles, from jazz to pop music, that coalesce to form the whole. The performance instructions state: ‘English words were chosen, containing a lot of sibilants. They are all to be whispered into the microphone, in somewhat voiced sounds. Most of the texts are nonsense, and the audience should hear the words as if somebody would play a hi-hat.’ Listen carefully and you may pick out ‘Soundcheck’, ‘I think it’s too fast’, ‘Let’s change the subject’ or ‘Life … it’s a nightmare.’
Péter Eötvös (© Priska Ketterer)
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
14 | London Philharmonic Orchestra
1901 Scriabin initially established himself as a pianist, with concert programmes featuring Schumann, Liszt and – his favourite – Chopin. His first 19 numbered compositions are all for solo piano. The first major composition including orchestra was a rather Chopinesque Piano Concerto, dating from 1896. Barely three years later, he embarked on an intense period of writing symphonies – three numbered and two unnumbered works followed within five years. If the First Symphony found him becoming ‘more than just a composer’, to quote novelist Boris Pasternak, he was undeterred by its lukewarm reception, as he immediately drafted ideas for the Second Symphony. The work was mostly written in Paris during the summer of 1901.
Scriabin certainly had ambitious plans for the Symphony. Its musical language is distinctly that of 19th-century romanticism, but he refused to be limited by the traditional four-movement format. The five movements – unusually, each is in a different key – are played as three: the opening two are played without a break, as are the final two. The C minor first movement, Andante, is a cyclical sonata-form introduction that presents many of the Symphony’s themes. The serious tone is set by the main theme on the clarinet. Its melodic potential is explored and realised through Scriabin’s assured orchestration. The E-flat major Allegro’s strongly contrasting moods draw on beautiful melodies. The Symphony’s emotional heart is within the B major Andante movement, with writing reminiscent of Debussy and Rimsky-Korsakov. Its rich palette is bookended with bird-calls in the flutes, thus following other symphonic nature-inspired slow movements – think Beethoven’s ‘Pastoral’ Sixth (1808), Berlioz’s Symphonie fantastique (1830) or Mahler’s Third Symphony (1896). Scriabin aimed for a grand finale of
Alexander Scriabin (1872–1915) Symphony No. 2 in C minor, Op. 29 1 Andante – 2 Allegro 3 Andante 4 Tempestoso – 5 Maestoso
universal appeal. A driven F minor Tempestoso rondo precedes the C minor-to-C major Maestoso triumphal march. Ultimately though, he considered it an inferior ‘military parade’. Conductor Anatoly Lyadov wrote in the score, ‘What a symphony, but what kind?’, as he prepared for the St Petersburg premiere. Scriabin’s aunt recalled the event: ‘Half of the audience made their way to the stage roaring with applause. The other half remained in their seats. There was a terrible clamour, hissing, whistling, an unbelievable noise rocked the house ...’ Conductor Vasily Safonov waved the score at the New York Philharmonic and declared, ‘Gentlemen, here is the new Bible!’ Not everyone was so convinced: the composer Anton Arensky thought that, ‘One dissonance after another piles up without a single thought behind any of it.’ Scriabin himself abandoned tonality entirely by 1907. Since then, opinion of Scriabin’s least performed symphony has changed somewhat, given the ever-greater dissonances explored by composers. Programme notes © Evan Dickerson
Join the conversation: Tweet your thoughts on the concert with #LPO2020 @LPOrchestra
London Philharmonic Orchestra | 15
Recommended recordings of tonight’s works by Laurie Watt Beethoven: Symphony No. 1 London Philharmonic Orchestra | Kurt Masur (LPO Label LPO-0093: see right) or Scottish Chamber Orchestra | Charles Mackerras (Hyperion)
Beethoven’s Symphony No. 1 on the LPO Label Beethoven: Symphonies Nos. 1 & 4 Kurt Masur conductor London Philharmonic Orchestra LPO-0093 | £9.99
Péter Eötvös: Snatches of a Conversation musikFabrik | Omar Ebrahim | Marco Blaauw Péter Eötvös (BMC) Scriabin: Symphony No. 2 Oslo Philharmonic Orchestra | Vasily Petrenko (LAWO)
Recorded live at Southbank Centre’s Royal Festival Hall on 24 November 2004 (Symphony No. 1) & 27 November 2004 (Symphony No. 4) CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Primephonic, Spotify, Apple Music, Idagio and others.
CLASSICAL MUSIC FOR MODERN LIFE
SIMON MAYO 10AM-1PM MONDAYS TO SATURDAYS
ANGELLICA BELL 7AM-10AM SATURDAYS
MARK KERMODE 1PM-3PM SATURDAYS
FIND US ON DIGITAL RADIO SCALA APP
16 | London Philharmonic Orchestra
SKY
SMART SPEAKER
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 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 CBE 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 Anonymous donors Mrs Aline Foriel-Destezet Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Mrs Christina Lang Assael Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Associates An anonymous donor Steven M. Berzin Kay Bryan William & Alex de Winton Hamish & Sophie Forsyth Mrs Irina Gofman Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons An anonymous donor David & Yi Buckley In memory of Allner Mavis Channing The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Geoff & Meg Mann Francis & Marie-France Minkoff Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt
Silver Patrons Ms Terri Borain Andrea d’Avack Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Rehmet Kassim-Lakha de Morixe John & Angela Kessler Jamie & Julia Korner The Metherell Family Denis & Yulia Nagy Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Andrew & Rosemary Tusa Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Mr Mark Astaire Margot Astrachan Mr Geoffrey Bateman Mrs A Beare Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil The Earl & Countess of Chichester Mr Michael Cole-Fontayn Mr John H Cook Howard & Veronika Covington Mrs Maria Danilova Guy Davies Bruno De Kegel Cameron & Kathryn Doley Jill Dyal David Ellen Ignor & Lyuba Galkin Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Eugene & Allison Hayes Ms Elena Heinz Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home Rose & Dudley Leigh
18 | London Philharmonic Orchestra
Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Linda & Tim O’Neill Jacopo Pessina Mr Alex Petrov Mr Roger Phillimore Mr Michael Posen Mr Alex Smedley Ms Nadia Stasyuk Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Ms Jenny Watson CBE Christopher Williams Mr Anthony Yolland Principal Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Helen Brocklebank Mr Philip Bathard-Smith Ms Phyllia Chen Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett In honour of Bea Crumbine Mr Jonathan Davies Mr Richard Fernyhough Mr Michael Fox Mr Stephen Goldring Mr Milton Grundy Mr Ian Haslegrave Michael & Christine Henry Lady Hill Mrs Maureen Hooft-Graafland Jamilya Jakisheva Per Jonsson Vadim Levin Lady Leonora, Countess of Lichfield Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Michael & Patricia MclarenTurner Alice P. Melly
Mr John Meloy Andrew T Mills Dr Karen Morton Maxim & Natalia Moskalev Mrs Jannifer Oxley Mr James Pickford Natalie Pray Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Barry & Gillian Smith Mr Bill Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Matthew Stephenson & Roman Aristarkhov Marina Vaizey Howard & Sheelagh Watson Supporters Anonymous donors Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Mr David Devons Mr Anthony Diamond Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Scott & Icy Frantz Christopher Fraser OBE Will Gold Mr Peter Gray The Jackman Family Mr & Mrs Bon Jasperson Mr David MacFarlane Peter & Isabel Malkin Mr Frederic Marguerre Mr Mark Mishon Trevor Mulineaux Dame Jane Newell DBE Bill & Jane Nickerson Mr Stephen Olton Anju & Radhika Patel Mr David Peters
Candace Procaccini Mr & Mrs Graham & Jean Pugh Mr David Russell Deb & Jay Shaw Ms Elizabeth Shaw Mr Kenneth Shaw Ms Natalie Spraggon & Mr David Thomson Mrs John E Stauffer Ronald & Davidde Strackbein Mr John Weekes 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) Veronika Borovik-Khilchevskaya (Cyprus) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (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)
Thomas Beecham Group Members David & Yi Buckley The Candide Trust The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport William & Alex de Winton Donors to the 2019 Gala Player Appeal Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Natasha Tsukanova Neil Westreich Guy & Utti Whittaker 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 Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP
Connecticut Gala Committee Bea Crumbine & Jill Dyal Co-Chairmen Rodica Brune Mandy DeFilippo Rachel Franco Nick Gutfreund Mary Hull Steve Magnuson Natalie Pray Victoria Robey OBE Lisa & Scot Weicker Corporate Donors Barclays L Catterton Paul Hastings LLP Payne Hicks Beach Pictet Bank White & Case LLP LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners After Digital Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic 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 Chalk Cliff Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation The London Community Foundation Lord & Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute PRS For Music Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The Steel Charitable Trust Spears-Stutz Charitable Trust The Thomas Deane Trust The Viney Family 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 Martin Höhmann* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Susanne Martens* Stewart McIlwham* Pei-Jee Ng* Andrew Tusa Timothy Walker CBE AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Helen Brocklebank 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 Jamie Njoku-Goodwin 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 CBE AM Laurence Watt Elizabeth Winter
General Administration Timothy Walker CBE AM Chief Executive and Artistic Director
Education and Community Isabella Kernot Education and Community Director
David Burke Chief Executive Designate
Talia Lash Education and Community Manager
Sarah Gee PA to the Chief Executive/ Office Administrator Finance Frances Slack Finance and Operations Manager Dayse Guilherme Finance Officer Concert Management Roanna Gibson Concerts Director
Emily Moss Education and Community Project Manager Hannah Tripp Education and Community Project Co-ordinator Development Laura Willis Development Director Vicky Moran Development Events Manager
Graham Wood Concerts and Recordings Manager
Christina McNeill Corporate Relations Manager
Fabio Sarlo Glyndebourne and Projects Manager
Rosie Morden Individual Giving Manager
Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Librarian Sarah Thomas Librarian Laura Kitson Stage Manager Stephen O’Flaherty Stage Manager Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator
20 | London Philharmonic Orchestra
Anna Quillin Trusts and Foundations Manager Izzy Keig Development Assistant Lewis Hammond Development Assistant ~ Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager Alexandra Lloyd Projects and Residencies Marketing Manager Megan Macarte Box Office Manager (Tel: 020 7840 4242) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Georgie Gulliver Marketing Assistant
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. Cover artwork 2020 Vision visuals by Ross Shaw @ JMG Studio Printer Cantate