London Philharmonic Orchestra 9 April 2016 concert programme by London Philharmonic Orchestra

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

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

Southbank Centre’s Royal Festival Hall Saturday 9 April 2016 | 7.30pm

Schoenberg Verklärte Nacht (1943 version) (32’) Interval (20’) Brahms A German Requiem, Op. 45 (68’)

Christoph Eschenbach conductor Sarah Tynan soprano Matthias Goerne baritone London Philharmonic Choir

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Christoph Eschenbach 7 Sarah Tynan Matthias Goerne 8 London Philharmonic Choir 9 Programme notes 11 Recommended recordings 12 A German Requiem text 14 A German Requiem on the LPO Label 15 Next concerts 16 NOISE: students and under-26s 17 LPO 2016/17 season 18 Sound Futures donors 19 Supporters 20 LPO administration

Free pre-concert performance 6.00–6.45pm | Royal Festival Hall Our creative cross-arts ensemble, LPO Soundworks, takes the characters and words of The Bard of Avon as inspiration for its latest collaborative performance.

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss

Orchestra news

New season now on sale! Next season's LPO concerts at Royal Festival Hall are now open for booking. After the huge success of The Rest Is Noise festival in 2013, we are excited to be collaborating once again with Southbank Centre on another large-scale multi-artform festival. Belief and Beyond Belief will interest atheists, agnostics and those of all faiths. We have devoted our 2017 concerts to the festival, beginning with Beethoven's profound statement on the human condition, Fidelio. LPO Principal Conductor and Artistic Advisor Vladimir Jurowski takes a major role throughout as we explore belief as revealed in works ranging from Haydn's The Creation to John Adams's Harmonielehre. See more details on page 17, browse the full 2016/17 season brochure online at lpo.org.uk/newseason or call us on 020 7840 4200 to request a copy in the post.

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

A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

2 | London Philharmonic Orchestra

Team LPO On Sunday 10 July a team of LPO musicians, staff and supporters will be taking part in the Vitality British 10k London Run in aid of the Orchestra’s schools concerts, BrightSparks. All money raised will allow over 12,000 young people from our South London communities and further afield to attend one of our live schools concerts, many for the very first time. Join Team LPO to run alongside our musicians in support of a great cause. We hope that each participant will commit to raising a minimum of £250. The LPO will provide support for your fundraising endeavours. To get up and running please contact Helen Yang on 020 7840 4225 or helen.yang@lpo.org.uk

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Ilyoung Chae Chair supported by an anonymous donor

Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Rebecca Shorrock Caroline Frenkel Nilufar Alimaksumova Galina Tanney Robert Yeomans Second Violins Philippe Honoré Guest Principal Lorenzo Gentili-Tedeschi Fiona Higham Joseph Maher Marie-Anne Mairesse Ashley Stevens Helena Nicholls Sioni Williams Sheila Law Rachel Dinning Elizabeth Baldey Emma Wragg John Dickinson Kate Cole

Violas Benjamin Roskams Guest Principal Gregory Aronovich Susanne Martens Emmanuella Reiter Laura Vallejo Naomi Holt Alistair Scahill Daniel Cornford Stanislav Popov Martin Fenn Sarah Malcolm Martin Wray Cellos Pei-Jee Ng Principal Francis Bucknall Laura Donoghue Santiago Carvalho† Elisabeth Wiklander Chair supported by The Viney Family

Sue Sutherley Susanna Riddell Tom Roff Helen Rathbone George Hoult Double Basses Chris West Guest Principal George Peniston Laurence Lovelle Lowri Morgan Kenneth Knussen Helen Rowlands Charlotte Kerbegian Benjamin Wolstenholme

Trumpets Nicholas Betts Principal Anne McAneney*

Flutes Juliette Bausor Guest Principal Sue Thomas*

Chair supported by Geoff & Meg Mann

Chair supported by Victoria Robey OBE

Trombones Mark Templeton* Principal

Piccolo Stewart McIlwham* Principal

Chair supported by William & Alex de Winton

David Whitehouse

Chair supported by Friends of the Orchestra

Bass Trombone Lyndon Meredith Principal

Oboes Ian Hardwick* Principal Alice Munday

Tuba Lee Tsarmaklis* Principal

Clarinets Robert Hill* Principal Thomas Watmough Sub-Principal

Timpani Antoine Bedewi Guest Principal

Bassoons Gareth Newman Principal Emma Harding

Harps Rachel Masters* Principal Elizabeth McNulty

Contrabassoon Simon Estell Principal

Organ Catherine Edwards

Horns Mark Vines Principal Martin Hobbs Stephen Nicholls Gareth Mollison Duncan Fuller

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

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Jon Claydon • Andrew Davenport • David & Victoria Graham Fuller • Dr Barry Grimaldi Simon Robey • Bianca and Stuart Roden • Caroline, Jamie & Zander Sharp • Laurence Watt

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The LPO can stand alongside the top international orchestras with pride. Richard Fairman, Financial Times, September 2015

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

4 | London Philharmonic Orchestra

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

Pieter Schoeman leader

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

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence across social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7 instagram.com/londonphilharmonicorchestra

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

Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002. Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow's Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre's Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London's prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt's Double Concerto with Boris Garlitsky, Brahms's Double Concerto with Kristina Blaumane, and Britten's Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra's own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter's chair in the London Philharmonic Orchestra is supported by Neil Westreich.

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Christoph Eschenbach conductor

Eschenbach and his London Philharmonic players had the measure of the music’s vast perspectives.

Nick Kimberley, Evening Standard (Messiaen Des canyons aux étoiles, 2 November 2013, Royal Festival Hall)

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

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

Eschenbach conducts on the LPO Label Messiaen Des canyons aux étoiles (From the Canyons to the Stars) Christoph Eschenbach conductor Tzimon Barto piano John Ryan horn Andrew Barclay xylorimba Erika Öhman glockenspiel London Philharmonic Orchestra LPO-0083 | £10.99 (2 CDs) Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), the Royal Festival Hall shop and all good CD outlets.

Matthias Goerne

soprano

baritone

This season Sarah Tynan sings Merab in the Glyndebourne on Tour production of Handel’s Saul throughout the UK and in Bucharest, and Ginevra in Handel’s Ariodante with Scottish Opera. Concert engagements include Handel’s Messiah with the Ulster Orchestra and the Gabrieli Consort; Tippett’s A Child of Our Time and Orff’s Carmina Burana with the BBC Symphony Orchestra; Brahms’s German Requiem with both the London Philharmonic and Bournemouth Symphony orchestras; Mahler’s Symphony No. 4 with the City of Birmingham Symphony Orchestra; and Ännchen in Weber’s Der Freischütz with the Orchestra of the Age of Enlightenment.

Matthias Goerne is one of the most internationally soughtafter vocalists, and a frequent guest at renowned festivals and concert halls. He has collaborated with leading orchestras all over the world. Among his musical partners are conductors of the first rank, as well as many eminent pianists.

Operatic highlights include the world premiere of Dai Fujikura’s Solaris at the Théâtre des Champs-Élysées, Opéra de Lille and Opéra de Lausanne; Romilda in Xerxes and Marzelline in Calixto Bieito’s production of Beethoven’s Fidelio at English National Opera; Cleopatra in Giulio Cesare and Carrie Pipperidge in Carousel at Opera North; Sharon Disney in the world premiere of Philip Glass’s The Perfect American at Teatro Real, Madrid and at ENO; Susanna in Le nozze di Figaro at Cincinnati Opera; Iris in Semele at La Monnaie; Dalinda in Ariodante at Opera de Oviedo; Servilia in La clemenza di Tito with the OAE, and Luigi Nono’s Al gran sole carico d’amore at the Salzburg Festival. Sarah recently made her Cincinnati Symphony debut in Carmina Burana, which she has also sung with the BBC Philharmonic, the Royal Philharmonic and the BBC National Orchestra of Wales and recorded with the LPO on its own label (LPO-0076). She has also performed Haydn’s The Creation with the London Symphony Orchestra, at Lincoln Center and at the Handel & Haydn Society; Mahler’s Symphony No. 8 with the Philharmonia and Royal Scottish National orchestras; Mendelssohn’s A Midsummer Night’s Dream in Glyndebourne’s Vladimir Jurowski Celebration; Ryan Wigglesworth’s Augenlieder with the CBSO; Dallapiccola’s Partita at the BBC Proms; and Campra’s Le carnaval de Venise with Le Concert Spirituel and Hervé Niquet.

Sarah Tynan

Since his operatic debut at the Salzburg Festival in 1997 as Papageno, Matthias Goerne has appeared on the world’s principal opera stages including the Royal Opera House, Covent Garden; Teatro Real, Madrid; Paris National Opera; Vienna State Opera; and the Metropolitan Opera, New York. His carefully chosen roles range from Wolfram (Tannhäuser), Amfortas (Parsifal) and Kurwenal (Tristan und Isolde) to the title roles in Berg’s Wozzeck, Bartók’s Bluebeard’s Castle and Hindemith’s Mathis der Maler. Goerne’s artistry has been documented on numerous recordings, many of which have received prestigious awards. He recently completed a 12-CD series of selected Schubert songs (‘The Goerne/Schubert Edition’) for Harmonia Mundi, and his debut as Wotan on a new recording of Wagner’s Das Rheingold with Jaap van Zweden received rave reviews. Born in Weimar, Matthias studied with Hans-Joachim Beyer in Leipzig, and with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. He is an Honorary Member of the Royal Academy of Music in London. Highlights in 2015/16 include song recitals at London’s Wigmore Hall, New York’s Lincoln Center, the San Francisco Opera and the Sydney Festival (in a William Kentridge production of Winterreise); performances with the Royal Concertgebouw Orchestra, the New York Philharmonic and the St Petersburg Philharmonic; and several appearances at the Vienna State Opera in the role of Orest (Elektra), as well as his debut as Wotan in Wagner’s Die Walküre with the Hong Kong Philharmonic Orchestra.

London Philharmonic Orchestra | 7

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

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for almost 70 years and made numerous recordings for CD, radio and television. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. The Choir had a busy last season performing Mahler’s Symphony No. 2 under the Orchestra’s new Principal Guest Conductor Andrés Orozco-Estrada; Rachmaninoff’s The Bells with Vasily Petrenko; and three performances with the Orchestra’s Principal Conductor Vladimir Jurowski, including works by Verdi, Stravinsky, Rachmaninoff and Ravel. This season the Choir was delighted to perform Taneyev’s St. John of Damascus and Szymanowski’s Stabat Mater. The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given

Sopranos Catherine Allum, Annette Argent, Jane Awdry, Tessa Bartley, Hilary Bates, Catherine Boxall, Laura Buntine, Carole Cameron, Charlotte Cantrell, Olivia Carter, Paula Chessell, Alana Clark, Olivia Clark, Eve Commander, Sally Cottam, Harriet Crawford, Sarah Deane-Cutler, Victoria Denard, Jessica Dixon, Jessica Eucker, Rachel Gibbon, Lydia Grant, Jane Hanson, Rebecca Harries, Sally Harrison, Laura Hunt, Jenni Kilvert, Olivia Knibbs, Suzannah Lipmann, Martha MacBean, Ros Mann, Janey Maxwell, Katie Milton, Harriet Murray, Mariana Nina, Carmel Oliver, Angelina Panozzo, Lydia Pearson, Marie Power, Danielle Reece-Greenhalgh, Rebecca Schendel, Rebecca Sheppard, Victoria Smith, Victoria Sutcliffe, Susan Thomas, Rachel Topham, Jenny Torniainen, Sarah van Staveren, Jessica Watson, Susan Watts, Joanna Webster, Charlotte Wielgut Altos Jenny Adam, Christine Allison, Phye Bell, Sally Brien, Andrei Caracoti, Lara Carim, Isabelle Cheetham, Noel Chow, Liz Cole, Emily Dankworth, Andrea Easey, Carmel Edmonds, Pauline Finney, Regina Frank, Kathryn Gilfoy, Emily Hill, Kristi Jagodin, Marjana Jovanovic Morrison, Charlotte Kingston, Marissa Landy, Andrea Lane, Elaine Lewis, Lisa MacDonald, Laetitia Malan, Marj McDaid, Kristen Mooy, Sophie Morrison, Annabeth Murphy-Thomas, Rachel Murray, 8 | London Philharmonic Orchestra

performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. The Choir has appeared twice at the Touquet International Music Masters Festival, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem. It recently returned from a trip to Brussels, performing Szymanowski’s Stabat Mater and Zemlinsky’s Psalm 23, Op. 14. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit lpc.org.uk In 2006 the Choir performed Brahms’s A German Requiem in St Paul’s Cathedral under the baton of Kurt Masur. Many members of the Choir fondly remember being inspired by Maestro Masur’s love of this Requiem, at one time advising them ‘Life is beautiful, die smiling!’ We were very sorry to hear of Maestro Masur’s passing in December last year and would like to dedicate the Choir’s performance this evening to his memory.

Monika Okreglicka-Mazur, Miranda Ommanney, Magdalen Peel, Sheila Rowland, Carolyn Saunders, Rima Sereikiene, Rachel Taylor, Catherine Travers, Susi Underwood, Snezhana Valcheva, Jenny Watson, Emma Windle Tenors David Aldred, Geir Andreassen, Christopher Beynon, James Clarke, Tom Dalglish, Kevin Darnell, Robert Geary, Alan Glover, Joshua Haley, Iain Handyside, David Hoare, Stephen Hodges, Patrick Hughes, Andrew Mackie, Tony Masters, Javier Ruiz, Knut Olav Rygnestad, Keith Saunders, Jaka Škapin, Claudio Tonini, Jeremy Wong, Tony Wren, Martin Yates Basses Jonathon Bird, Peter Blamire, Filipe Caetano, Geoff Clare, John Clay, Phillip Dangerfield, Marcus Daniels, Neville Filar, Halldor Fosså, Ian Frost, Christopher Gadd, Paul Gittens, Christopher Harvey, Nicholas Hennell-Foley, Mark Hillier, David Hodgson, Yaron Hollander, Martin Hudson, Ashley Jacobs, David Kent, John Luff, Anthony McDonald, Richard Miller, John D Morris, John G Morris, Ashley Morrison, Luke Murphy, Will Parsons, Johan Pieters, John Salmon, Ed Smith, Tom Stevenson, Peter Taylor, Alex Thomas, James Torniainen, Trevor Watson

Programme notes

Speedread ‘Brahms, the classicist, the academician, was a great innovator in the realm of musical language … in fact, he was a great progressive’, declared Schoenberg in a lecture given on the 100th anniversary of Brahms’s birth. That Schoenberg – the confident, self-taught composer who would later boast that his twelvetone technique would ‘ensure the supremacy of German music for the next hundred years’ – should be so effusive about Brahms shows just how highly he regarded his predecessor. Not one to underplay his own talents, he also acknowledged Brahms’s influence on Verklärte Nacht, citing his technique of ‘developing variation’ as a major feature in the thematic construction of the work.

Arnold Schoenberg

Although Brahms could hardly have anticipated the radical new directions in which Schoenberg would take his legacy little more than 20 years after his death, the foundations for Schoenberg’s groundbreaking harmonic developments were laid down within Brahms’s works. With its broad harmonic palette, bold use of chromaticism and exquisite craftsmanship, Brahms’s German Requiem was every inch as progressive for the 19th century as Schoenberg’s works were for the 20th. A Requiem unlike any other, Brahms’s masterpiece is a work of consolation and comfort for the living, rather than a sorrowful memorial for the dead.

Verklärte Nacht (1943 version)

1874–1951

History has dealt the music of the Second Viennese School something of an unjust reputation. Often perceived as unwieldy and academic, prioritising musical complexity over meaningful expression, the works of Arnold Schoenberg, Anton Webern and Alban Berg are still relatively rare inclusions in concert programmes. But much of their music is easier on the ear than some might expect, bathed in the dying throes of Romanticism. If their music is not immediately expressive to the listener, it is nevertheless grounded in a lyrical impulse. At the premiere of Verklärte Nacht (‘Transfigured Night’) in its original string sextet version in Vienna in 1902, Schoenberg’s audience did not agree. There were horrified gasps at the modernity of its harmonies, derision at the appearance of new chords that ostensibly ‘did not exist’ (‘Then they cannot be

performed’, Schoenberg wryly retorted) and shock at the explicit content of its programme. This programmatic work was so unlike anything the public had heard before, combining the grand symphonic poems of Liszt and Strauss with the intimacy of a chamber ensemble, that the concert ended in a riot. Composed in just three weeks while Schoenberg was on holiday in the Austrian countryside in September 1899, Verklärte Nacht would become known as the composer’s first major work and the first to signal his departure from traditional concepts of tonality. Just a few years earlier, Schoenberg had been composing within a recognisable tonal idiom, but in Verklärte Nacht these boundaries begin to be broken down, with intense chromaticism and swathes of near-atonality obscuring familiar tonal reference points. His aim, as he wrote, was not to create a dramatic work in any traditional London Philharmonic Orchestra | 9

Programme notes continued

sense, but rather to give an ‘impression’ through music: ‘My composition was, perhaps, somewhat different from other illustrative compositions … because it does not illustrate any action or drama, but was restricted to portray nature and express human feelings ... in other words, it offers the possibility to be appreciated as “pure” music.’ Inspired by a poem of the same name by the German symbolist poet Richard Dehmel, Verklärte Nacht follows two lovers as they walk through the forest at night, before the woman reveals that she is pregnant with another man’s child. Just as Dehmel’s poem emphasises the emotions at the centre of the story rather than the narrative itself, so Schoenberg’s setting focuses not on their actions, but on the intense psychological drama that unfolds around the woman’s confession and the man’s response. In its structure, Schoenberg loosely follows that of the poem too, dividing his single-movement work into a five-part arch in which sections 1, 3 and 5 describe the lovers and their shadowy surroundings, section 2 presents the woman’s

anguished confession and section 4 the man’s quiet declaration of forgiveness. This formal structure is also cemented by a sweeping tonal arc that sees the work open sombrely in D minor, descend into ambiguity at its centre as the woman ‘stumbles on’ with a heavy heart, but emerge resplendently in D major towards the close as the woman declares: ‘You have brought the glow into me, you have made me like a child myself.’ As the couple gaze around them at the beauty of the glittering skies, their love transforms heartbreak into happiness, and the ‘bare, cold wood’ transfigures into a ‘high, bright night’. Although Verklärte Nacht was originally scored for string sextet, it is now better known in the arrangement that Schoenberg made for string orchestra in 1917 and revised once more in 1943, and it is the latter version that we hear tonight. Programme note and Speedread © Jo Kirkbride Please note that this piece replaced the originally advertised work.

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

Johannes Brahms

A German Requiem, Op. 45 Sarah Tynan soprano Matthias Goerne baritone London Philharmonic Choir

1833–97

1 2 3 4 5 6 7

Selig sind, die da Leid tragen Denn alles Fleisch, es ist wie Gras Herr, lehre doch mich Wie lieblich sind deine Wohnungen Ihr habt nun Traurigkeit Denn wir haben keine bleibende Statt Selig sind die Toten

The texts begin over the page.

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‘If he will only point his magic wand to where the powers amassed in the orchestra and chorus lend him their might’, said Robert Schumann of Johannes Brahms, ‘yet more wonderful glimpses into the mysteries of the spirit world would await us’. Schumann believed a large-scale choral-cum-orchestral work from his young acolyte’s pen would prove a masterpiece. But Brahms needed more than verbal inspiration, and he soon got it: months later, Schumann unsuccessfully attempted suicide and was admitted to an asylum. Two years after that he died, his wife Clara, with Brahms, at his bedside.

Brahms’s reaction to the loss of his artistic guiding star was the sketching of a symphony that never saw the light of day. Instead, some ten years later, Brahms reused some of the material as the starting point for a Requiem (other chunks made their way into the D minor Piano Concerto). The tragedy of Schumann’s death would doubtless have haunted him still, but there was another deadly blow coming Brahms’s way: the death of his mother, to whom he had been particularly close, in 1865. And so the creation of A German Requiem began in earnest, Brahms sending two completed movements to Schumann’s widow Clara just months after his mother’s passing. In the summer of 1866 it was complete; Schumann’s wish for a musical glimpse of the heavens from Brahms’s pen had been posthumously granted. But despite the backdrop of death against which it was created, Brahms’s Requiem was a very hopeful one, and, indeed a very German one: a piece that captures a cultural rather than dogmatic view of Brahms’s Germany, carrying the gift of spiritual comfort rather than the threat of impending judgement. The first performance proper of A German Requiem – then for baritone soloist, chorus and orchestra – came in Bremen on Good Friday 1868. The composer subsequently added the fifth movement with soprano soloist, and the newly completed piece was first heard in Leipzig in February 1869, soon thereafter being recognised as the first major masterpiece of a mature composer. What Brahms wrote was not only exquisite and profoundly moving, but also largely unprecedented. It includes no direct reference to Christ, and sets not the words of the Requiem Mass (or even their Lutheran equivalent), but a selection of biblical excerpts from the books of Psalms, Revelation, Ecclesiasticus, Isaiah and Hebrews, the epistles of St Paul and the gospels of St Matthew and St John, among others. Despite the abstracted, humanist qualities of much of his chosen texts, Brahms’s musical inspirations were more traditionally sacred and ritualistic. Schumann had instilled in him a fascination for music of the Renaissance and Baroque eras, a characteristic both composers shared with Felix Mendelssohn. The spirit of such music shines through much of A German Requiem; its sense of balance, its instrumental and choral colours, its musical painting of words and its watertight cohesion (the latter itself a Brahmsian hallmark).

So just how did Brahms fashion a work that seems to rest contented upon its performers like a rocksteady faith? Well, partly through his reliance on two motifs, each movement taking either one as its basis. The first of these is the Bach chorale theme ‘Wer nur den lieben Gott lässt walten’, which is detectable in Brahms’s second movement funeral march, and also steers the work’s opening bars (recurring, therefore, as Brahms recalls his opening material at the work’s conclusion – another act of reassurance). The second is a simple 1–3–4 idea (think of the first three notes of the carol ‘Once in Royal David’s City’) which features consistently in the other movements as both a thematic ‘motto’ and an incidental gesture. Soon, therefore, the music feels familiar; the movements, though different, referencing one another’s sentiments rather than providing the traditional thematic contrast between eternal damnation and eternal paradise. In addition to these references to the compositional past, Brahms also turns to the ‘contrapuntal’ technique of fugue, long associated with sacred music. The second, third and sixth movements of the Requiem are capped by fugal codas, though heard in a fully Brahmsian idiom using chromatic, expressive melodic shapes that are never virtuosic or awkwardly archaic. Indeed, Brahms’s music is all his own, and whilst he may himself have described the piece as being as much a ‘human’ as a ‘German’ Requiem, it is also a deeply personal one. Programme note © Andrew Mellor

Recommended recordings of tonight’s works Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. Schoenberg: Verklärte Nacht Yehudi Menuhin | Sinfonia Varsovia [Virgin Classics] Brahms: A German Requiem London Philharmonic Orchestra & Choir | Yannick Nézet-Séguin [LPO Label LPO-0045: see page 14]

London Philharmonic Orchestra | 11

A German Requiem text

1 Selig sind, die da Leid tragen

Blessed are they that mourn

Selig sind, die da Leid tragen, denn sie sollen getröstet werden. Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen, und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.

Blessed are they that mourn, for they shall be comforted. They that sow in tears shall reap in joy. He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him.

2 Denn alles Fleisch es ist wie Gras

For all flesh is as grass

Denn alles Fleisch es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen.

For all flesh is as grass, and all the glory of man as the flower of grass. The grass withereth, and the flower thereof falleth away.

So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde, und ist geduldig darüber, bis er empfange den Morgenregen und Abendregen. Aber des Herrn Wort bleibet in Ewigkeit.

Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandman waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain.

Die Erlöseten des Herrn werden wiederkommen, und gen Zion kommen mit Jauchzen; Freude, ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen, und Schmerz und Seufzen wird weg müssen.

And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads; they shall obtain joy and gladness, and sorrow and sighing shall flee away.

3 Herr, lehre doch mich

Lord, let me know mine end

Herr, lehre doch mich, dass ein Ende mit mir haben muss, und mein Leben ein Ziel hat, und ich davon muss. Siehe, meine Tage sind einer Handbreit vor dir, und mein Leben ist wie nichts vor dir. Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen wird.

Lord, let me know mine end, and the measure of my days, what it is; that I may know how frail I am. Behold, thou hast made my days as an handbreadth; and mine age is as nothing before thee; verily every man at his best state is altogether vanity. Surely every man walketh in a vain show; surely they are disquieted in vain; he heapeth up riches, and knoweth not who shall gather them.

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But the word of the Lord endureth for ever.

Nun, Herr, was soll ich mich trösten? Ich hoffe auf dich. Der Gerechten Seelen sind in Gottes Hand, und keine Qual rühret sie an.

And now, Lord, what wait I for? My hope is in thee. But the souls of the righteous are in the hand of God, and there shall no torment touch them.

4 Wie lieblich sind deine Wohnungen

How lovely are thy dwellings

Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

How lovely are thy dwellings, O Lord of hosts! My soul longeth, yea, even fainteth for the courts of the Lord; my heart and my flesh crieth out for the living God. Blessed are they that dwell in thy house; they will be still praising thee.

5 Ihr habt nun Traurigkeit

And ye now therefore have sorrow

Ihr habt nun Traurigkeit; aber ich will euch wieder sehen, und euer Herz soll sich freuen, und eure Freude soll niemand von euch nehmen. Ich will euch trösten wie einen seine Mutter tröstet. Sehet mich an: ich habe eine kleine Zeit Mühe und Arbeit gehabt, und habe grossen Trost gefunden.

And ye now therefore have sorrow; but I will see you again, and your heart shall rejoice, and your joy no man taketh from you. As one whom his mother comforteth, so will I comfort you. Behold with your eyes, how that I laboured but a little, and found for myself much rest.

6 Denn wir haben keine bleibende Statt

For here have we no abiding city

Denn wir haben keine bleibende Statt, sondern die zukünftige suchen wir. Siehe, ich sage euch ein Geheimnis: wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden. Dann wird erfüllet warden das Wort, das geschrieben steht: Der Tod ist verschlungen in den Sieg. Tod, wo ist dein Stachel?

For here have we no abiding city, but we seek one to come. Behold, I show you a mystery: we shall not all sleep, but we shall all be changed; in a moment, in the twinkling of an eye, at the last trump; for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. Then shall be brought to pass the saying that is written: Death is swallowed up in victory. O death, where is thy sting? Continued overleaf London Philharmonic Orchestra | 13

A German Requiem text continued

Hölle, wo ist dein Sieg? Herr, du bist würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge erschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen.

O grave, where is thy victory? Thou art worthy, O Lord, to receive glory and honour and power, for thou hast created all things, and for thy pleasure they are and were created.

7 Selig sind die Toten

Blessed are the dead

Selig sind die Toten die in dem Herren sterben, von nun an. Ja, der Geist spricht dass sie ruhen von ihrer Arbeit, denn ihre Werke folgen ihnen nach.

Blessed are the dead which die in the Lord from henceforth. Yea, saith the Spirit, that they may rest from their labours, and their works do follow them.

A German Requiem on the LPO Label Brahms: A German Requiem Yannick Nézet-Séguin conductor Elizabeth Watts soprano Stéphane Degout baritone London Philharmonic Orchestra and Choir £9.99 | LPO-0045

‘A German Requiem that doesn’t rush and achieves a remarkable inwardness ... I found so many things to enjoy about this recording that I didn’t begrudge a single minute of the time spent to savour them.’ Peter Quantrill, Gramophone, August 2010

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

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Next concerts at Royal Festival Hall Friday 15 April | 7.30pm

Saturday 23 April | 7.30pm

JTI friday series

Shakespeare400: Anniversary Gala concert

De Falla The Three-cornered Hat (Suite No. 2) Rodrigo Fantasía para un gentilhombre Prokofiev Romeo and Juliet (excerpts) Jaime Martín conductor Xuefei Yang guitar* * Due to an ongoing hand injury, it is with great regret that Miloš Karadaglić has had to withdraw from this concert. We are very grateful to Xuefei Yang for taking his place at short notice.

Wednesday 20 April | 7.30pm Dukas La Péri Saint-Saëns Piano Concerto No. 5 (Egyptian) Honegger Pacific 231 Debussy Images Vladimir Jurowski conductor Javier Perianes piano

Scenes from: Verdi Otello Tchaikovsky Hamlet Vaughan Williams Serenade to Music Britten A Midsummer Night’s Dream Mendelssohn A Midsummer Night’s Dream Berlioz Roméo et Juliette Prokofiev Romeo and Juliet Thomas Adès The Tempest Walton Henry V Verdi Falstaff Vladimir Jurowski conductor Simon Callow director London Philharmonic Orchestra The Glyndebourne Chorus Trinity Boys Choir For full list of soloists visit lpo.org.uk Concert generously supported by Victoria Robey OBE and members of the Shakespeare400 Syndicate

Saturday 30 April | 7.30pm Rachmaninoff Piano Concerto No. 4 R Strauss An Alpine Symphony Vladimir Jurowski conductor Alexey Zuev piano

Tickets £9–£39 (premium seats £65) 23 April Tickets £12–£48 (premium seats £75) London Philharmonic Orchestra Ticket Office: 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone.

London Philharmonic Orchestra | 15

Student & Under-26 at Royal Festival Hall

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Students receive best available seats for just £4 at selected concerts throughout the year.

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The London Philharmonic Orchestra's NOISE programme is supported by the Orchestra's Principal Beer Sponsor, Heineken.

16 | London Philharmonic Orchestra

MUSIC IS OUR WORLD. 2016/17 Concert Season at Southbank Centre’s Royal Festival Hall Highlights include: — Belief and Beyond Belief, a — Sibelius expert Osmo Vänskä year-long festival with presents a Symphony Cycle Southbank Centre exploring pairing Sibelius’s symphonies with concertos by British what makes us human in the 21st century, offering the composers opportunity for personal exploration of belief through — Soloists including Anne-Sofie Mutter, Nicola Benedetti, meaning, science, death, Julian Bliss, Steven Isserlis, ideology and society. In Patricia Kopatchinskaja and partnership with Principal Hilary Hahn Conductor and Artistic Advisor Vladimir Jurowski Great choral works including Haydn’s The Creation, Beethoven’s Missa Solemnis, Mozart’s Requiem, Mahler’s Symphony No. 8 and Beethoven’s Symphony No. 9 (Choral)

Book now lpo.org.uk 020 7840 4242 Season discounts of up to 30% available

London Philharmonic Orchestra | 17

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

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

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

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

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

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

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

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

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

London Philharmonic Orchestra | 19

Administration Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Roger Barron Richard Brass Desmond Cecil CMG Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rachel Masters* George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Laurence Watt Neil Westreich David Whitehouse* * Player-Director

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Alison Atkinson Digital Projects Director

Talia Lash Education and Community Project Manager

Matthew Freeman Recordings Consultant

Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter

Roanna Gibson Concerts Director

American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Damian Davis Transport Manager

Amy Sugarman PA to the Chief Executive / Administrative Assistant Finance David Burke General Manager and Finance Director David Greenslade Finance and IT Manager

Lucy Sims Education and Community Project Manager

Public Relations Albion Media (Tel: 020 3077 4930)

Richard Mallett Education and Community Producer