LPO online concert programme: 12 May 2021 - East meets West (Bancroft/Shaham) by London Philharmonic Orchestra

SPRING 2021 CONCERT SEASON

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 12 MAY 2021 8PM

EAST MEETS WEST Arvo Pärt Fratres Mozart Symphony No. 35 (Haffner) Tchaikovsky Violin Concerto Ryan Bancroft conductor Gil Shaham violin

LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 PROGRAMME NOTES: PÄRT 5 PROGRAMME NOTES: MOZART 7 PROGRAMME NOTES: TCHAIKOVSKY 9 RYAN BANCROFT 10 GIL SHAHAM 11 LONDON PHILHARMONIC ORCHESTRA 12 ON STAGE TONIGHT 13 NEXT CONCERTS 14 ANNUAL APPEAL 2021: MUSIC WITH MEANING 16 MEMBERSHIPS & DONATIONS 17 CORPORATE PARTNERSHIPS 18 THANK YOU 20 SOUND FUTURES DONORS 21 LPO ADMINISTRATION

Concert performed at the Southbank Centre’s Royal Festival Hall on 14 April 2021 and filmed by Intersection. The safety of our musicians and staff is paramount, and filming sessions adhere strictly to safety measures in line with UK Government guidance. The London Philharmonic Orchestra is grateful to all those whose who are generously supporting the Orchestra during the 2020/21 season. This performance has been made possible through a grant from the Cultural Recovery Fund from the Department of Digital, Culture, Media and Sport. #HereForCulture

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LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

PROGRAMME NOTES ARVO PÄRT BORN 1935

FRATRES FOR VIOLIN, STRINGS AND PERCUSSION (1992) – APPROX 10 MINS –

GIL SHAHAM VIOLIN The Estonian composer Arvo Pärt was born in 1935 and worked for some ten years as a sound director for Estonian Radio, while studying for part of this period at the Tallinn Conservatory, where his composition teacher was Heino Eller, a composer whose own studies had been at the Petrograd Conservatory in the time of Glazunov. Eller was an important figure in the establishment of a form of Estonian music that combined elements of national tradition with symphonic writing. Pärt was brought up in a country under Soviet rule and in a town and in conditions that made musical study difficult at first. His period of military service was spent as a drummer, but in 1958 he was able to embark on study at the Conservatory, from which he graduated in 1963. If Eller’s work had been influenced by the teaching of Glazunov, director of the Petrograd Conservatory in his time as a student there, Pärt’s early compositions varied in style, showing at first the influence of contemporary Russian composers like Prokofiev and Shostakovich and then moving to serial experiment, a technique of which the Soviet authorities expressed the strongest disapproval. There was further work with modified serial techniques, the use of collage and of elements of chance.

After leaving his position at Estonian Radio, Pärt found it possible to earn a living solely as a composer, in particular by the composition of film music. It was perhaps this field of activity that allowed him to develop a particular personal style, with its roots in tonality and, as it developed, to the disapproval of the authorities, in strong religious traditions. A study of medieval and Renaissance music, of Gregorian chant, organum and the Netherlands school of Renaissance composers, Josquin and his contemporaries, and association with an Estonian early music ensemble, influenced his musical thought, leading to the formation of a musical language that he himself described as his ‘tintinnabular’ style, not simply the occasional use of bells but a reference to the basical musical elements that he had found in plainchant and organum. He himself has described his fascination with a single note, beautifully played and his use of primitive materials, the three notes of the triad, like bells, in the context of a single tonality. There is, in his tintinnabular compositions, a static and contemplative beauty, a reflection of his religious beliefs and his immersion in the earlier world of Catholic Europe. Debts to American minimalism may be discounted, but there are clearer parallels with the work of Gorecki or, perhaps, of John Tavener, a composer who shares Pärt’s Orthodox faith. Continued overleaf

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LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

PROGRAMME NOTES – CONTINUED –

In 1980 Arvo Pärt left Estonia for Vienna, taking Austrian citizenship, and the following year moved to Berlin, where he has since made his home. Fratres (‘Brothers’) was originally written in 1977 for string quintet and wind quintet, to be played by the early music ensemble Hortus Musicus with which Pärt was associated. It was later arranged for various ensembles, and more than 17 different versions now exist. A hymn is played over a continued drone of a fifth, with delicate punctuation from the percussion, as the hymn grows richer in texture and deeper in pitch at each repetition, before subsiding into tranquillity. This version of Fratres for solo violin, strings and percussion was written in 1992. Here the solo instrument offers its own arpeggiated interpretation of the material, again over the hushed drone that underpins the texture, before the more meditative statement of the hymn by the strings, with punctuation from the percussion , and the occasional plucked notes of the solo violin. The violin continues its elaboration of the simple quasi-Gregorian theme, sometimes in serenely contemplative mood and sometimes more energetically and with greater intensity, while the percussion provides a more sombre and even sinister division to the repetitions, which return to a meditative final silence, as the procession moves away once more.

‘THE HIGHEST VIRTUE OF MUSIC, FOR ME, LIES OUTSIDE OF ITS MERE SOUND. THE PARTICULAR TIMBRE OF AN INSTRUMENT IS PART OF THE MUSIC, BUT IT IS NOT THE MOST IMPORTANT ELEMENT. MUSIC MUST EXIST OF ITSELF … TWO, THREE NOTES … THE ESSENCE MUST BE THERE, INDEPENDENT OF THE INSTRUMENTS.’ ARVO PÄRT Arvo Pärt © Birgit Püve

Programme note by Keith Anderson (from Naxos 8.553750) © Naxos Rights US, Inc.

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LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

PROGRAMME NOTES WOLFGANG AMADEUS MOZART 1756–91

SYMPHONY NO. 35 IN D MAJOR, K385 (HAFFNER) 1782 – APPROX 17 MINS –

1 ALLEGRO CON SPIRITO 2 ANDANTE 3 MENUETTO & TRIO 4 PRESTO When in 1781 Mozart left his native Salzburg to begin a career in Vienna as a composer, performer and teacher, the effects were far-reaching. The Imperial capital provided more than just an environment conducive to freelance living; it also offered the kind of independence and cultured musical milieu he had not enjoyed before, and his response was to compose music of a growing emotional and intellectual reach that was to help define the sophisticated expressiveness of the High Classical style.

In its original form, the Symphony started with a march, and may well have had an extra minuet as well, making it similar to the species of multi-movement serenade that was popular at that time for grand public occasions, especially in Salzburg. It was not uncommon, however, for such serenades to be cut down subsequently to form four-movement symphonies, and this is what Mozart did when he performed the ‘Haffner’ in Vienna for the first time in March 1783.

That Mozart himself was aware of the new direction his music was taking is clear from a piece like the ‘Haffner’ Symphony, composed in Vienna, but consciously looking back to the brilliant, plain-speaking manner of the Salzburg years. It did so with good reason. In July 1782, Mozart received a letter from his father asking for a symphony to celebrate the ennoblement of a family friend, Sigmund Haffner. ‘I am up to my eyes in work’, he wrote back, ‘and now you ask me to write a symphony too! How am I to do so?’ He provided one, nevertheless, posting it to Salzburg in instalments accompanied by a tetchy correspondence culminating in a final message: ‘I only hope it will be to your taste’.

If the work’s open-heartedness was a return to Salzburg celebratory mood, the sophistication of the writing itself is worthy of Mozart’s Viennese years. The first movement marries assured orchestral swagger to a taut motivic structure held together by the varied and capricious reappearances of the striding theme of the opening. Whether bold and up-front, sidetracked into thoughtful counterpoint or just biding their time as humble accompaniment, they are instantly recognisable, and dominate the movement to memorable effect. The glowing summer-night grace of the second movement brings a serenade-like atmosphere, yet for

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LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

PROGRAMME NOTES – CONTINUED –

all the exquisite delicacy of the violin melodies, it is perhaps the brief, tuneless passage midway through, in which held woodwind notes are supported by syncopated string chords, that breathes the balmiest air of the evening. After an assertive minuet and faintly rustic trio, the finale arrives in a barely contained rush; Mozart reckoned it should be played ‘as fast as possible’. With its several appearances of the main theme, the movement has the feel (though not actually the form) of a rondo, while ebullient clowning from the timpani and ‘chugging’ strings near the end seem to come straight from the world of comic opera. Programme note © Lindsay Kemp

‘THE THEATRE COULD NOT POSSIBLY HAVE BEEN MORE CROWDED AND ALL THE BOXES WERE TAKEN … BUT WHAT PLEASED ME MOST WAS THAT HIS MAJESTY THE EMPEROR WAS THERE TOO, AND THAT HE WAS SO PLEASED, AND WHAT LOUD APPLAUSE HE GAVE ME… HIS SATISFACTION WAS BOUNDLESS.’ MOZART FOLLOWING THE SYMPHONY’S PREMIERE IN 1783

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LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

PROGRAMME NOTES PYOTR ILYICH TCHAIKOVSKY 1840–93

VIOLIN CONCERTO IN D MAJOR, OP. 35 1878 – APPROX 34 MINS –

GIL SHAHAM VIOLIN 1 ALLEGRO MODERATO 2 CANZONETTA: ANDANTE 3 FINALE: ALLEGRO VIVACISSIMO In June 1877, Tchaikovsky made one of the rashest decisions of his life: he proposed to Antonia Miliukova, a woman with whom he admitted he was ‘not the least in love’. Their marriage was unsurprisingly short-lived and, just a few weeks later, Tchaikovsky left. Keen to make a clean break with his disastrous attempt at traditional domesticity, he set off for Europe, where he spent most of the next year travelling and composing, all the while receiving the support of his patron and confidante, Nadezhda von Meck. ‘My heart is full’, he wrote to her, ‘it thirsts to pour itself out in music.’ Tchaikovsky was true to his word: his Fourth Symphony was completed in January, his opera Eugene Onegin a month later. By March he had settled in Clarens, on the banks of Lake Geneva, where he was visited by one of his former pupils, the violinist Joseph Kotek. Although Tchaikovsky was at pains to hide his homosexuality from the public – one of the reasons, it seems, behind his abrupt decision to marry – his letters do little to hide the extent of his feelings towards Kotek. ‘I love him very, very much’, he wrote to his brother, Anatoly. ‘He has the kindest and most tender of hearts.’

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LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

PROGRAMME NOTES – CONTINUED –

So it was, with the dark cloud of his marriage beginning to lift, that Tchaikovsky composed his Violin Concerto. While Kotek was integral to the Concerto’s composition (‘It goes without saying that I would have been able to do nothing without him’, he confided to Anatoly), he was not the work’s dedicatee. That honour went to Leopold Auer, who – in a move that scarred Tchaikovsky for many years – refused to give the Concerto its premiere, claiming that it was ‘unplayable’. It would be another three years before, in 1878, the work was finally premiered in Vienna with Adolph Brodsky as the soloist. The reviews were less than favourable: Eduard Hanslick called it ‘long and pretentious’, adding that ‘the violin is no longer played, but rent asunder, beaten black and blue’. The features that Hanslick found so distasteful – its longwinded lyricism and fiery virtuosity – are precisely what has made the Concerto so popular with audiences and cemented its place in the repertoire over the past 150 years. Most of the acrobatics are packed into the dazzling first movement, its form cleaved in two by an expansive cadenza that leads to even more challenging, stratospheric writing in the second half – passages that can easily be overplayed if not treated with caution. The Canzonetta was Tchaikovsky’s second attempt at a slow movement (his first was published separately as the Souvenir d’un lieu cher), its wistful and melancholic melodic writing so clearly heartfelt that it almost won Hanslick over. But his objections were reaffirmed by the wild drama of the finale, an adrenaline-fuelled Allegro packed with Russian folk themes that culminates in a thrilling double-stopped exchange between soloist and orchestra. Auer, for his part, later conceded that the Concerto was not ‘unplayable’, just ‘difficult’, adding ‘it is impossible to please everybody.’ Programme note © Jo Kirkbride

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‘FROM THE VIOLIN’S INITIAL ENTRANCE, SHAHAM’S BURNISHED TONE AND IMPECCABLE INTONATION CARESSED TCHAIKOVSKY’S MELODIES. THE VIOLINIST’S ARISTOCRAT SHAPING OF THE SECOND THEME WAS ONE OF MANY REINVIGORATING DETAILS THAT GAVE THE MUSIC NEW LIFE.’ SOUTH FLORIDA CLASSICAL REVIEW (NEW WORLD SYMPHONY/CRISTIAN MĂCELARU, JANUARY 2016)

LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

TONIGHT'S ARTISTS RYAN BANCROFT CONDUCTOR

Ryan Bancroft has a passion for contemporary music and has performed with Amsterdam’s acclaimed Nieuw Ensemble, assisted Pierre Boulez in a performance of his Sur Incises in Los Angeles, premiered works by Sofia Gubaidulina, John Cage, James Tenney and Anne LeBaron, and has worked closely with improvisers such as Wadada Leo Smith and Charlie Haden. In June 2021 he will make his debut with the Ensemble Intercontemporain in Paris.

Ryan Bancroft grew up in Los Angeles and first came to international attention in April 2018 when he won both First Prize and Audience Prize at the prestigious Malko Competition for Young Conductors in Copenhagen. In September 2019 it was announced that Bancroft had been appointed Principal Conductor of the BBC National Orchestra of Wales: this role began in the 2020/21 season. Following his first visit to work with the Tapiola Sinfonietta in Finland, Bancroft was invited to become their Artist in Association from the 2021/22 season.

Bancroft studied trumpet at the California Institute of the Arts, alongside additional studies in harp, flute, cello, and Ghanaian music and dance. He then went on to receive an MMus in orchestral conducting from the Royal Conservatoire of Scotland. While studying in Scotland he played trumpet with the BBC Scottish Symphony Orchestra on many occasions. He continued his conducting studies in the Netherlands and is a graduate of the prestigious Nationale Master Orkestdirectie run jointly by the Conservatorium van Amsterdam and the Royal Conservatoire of The Hague. As a student, his main mentors were Edward Carroll, Kenneth Montgomery, Ed Spanjaard and Jac van Steen.

This concert is Ryan Bancroft’s debut with the London Philharmonic Orchestra. Since winning the Malko Competition he has made debuts with a number of other international orchestras including the BBC Symphony, Royal Stockholm Philharmonic, Swedish Radio Symphony, Danish National Symphony, Rotterdam Philharmonic, RAI Torino and Norwegian National Opera orchestras. In North America he has been invited by the Toronto Symphony, Atlanta Symphony, Seattle Symphony and Cincinnati Symphony, amongst others. Forthcoming debuts include those with the City of Birmingham Symphony, Gothenburg Symphony, Baltimore Symphony and Iceland Symphony orchestras. –9–

LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

TONIGHT'S ARTISTS GIL SHAHAM VIOLIN

Philharmonic and New York Philharmonic orchestras and the Orchestre de Paris, as well as multi-year residencies with the orchestras of Montreal, Stuttgart and Singapore.

Gil Shaham is one of the foremost violinists of our time; his flawless technique combined with his inimitable warmth and generosity of spirit has solidified his renown as an American master. The Grammy Awardwinner, also named Musical America’s ‘Instrumentalist of the Year,’ is sought after throughout the world for concerto appearances with leading orchestras and conductors, and regularly gives recitals and appears with ensembles on the world’s great concert stages and at the most prestigious festivals. Highlights of recent years include the acclaimed recording and performances of J S Bach’s complete sonatas and partitas for solo violin. In the coming seasons, in addition to championing these solo works he will join his long-time duo partner, pianist Akira Eguchi, in recitals throughout North America, Europe and Asia. Gil Shaham’s most recent appearance with the London Philharmonic Orchestra was in April 2018, when he performed Beethoven’s Violin Concerto at the Royal Festival Hall with conductor Vladimir Jurowski. He has also regularly appeared with the Berlin Philharmonic, Boston Symphony, Chicago Symphony, San Francisco Symphony, Israel Philharmonic, Los Angeles

Gil Shaham has more than two dozen concerto and solo CDs to his name, earning multiple Grammys, a Grand Prix du Disque, a Diapason d’Or, and Gramophone Editor’s Choice. Many of these recordings appear on Canary Classics, the label he founded in 2004. His CDs include ‘1930s Violin Concertos’, ‘Virtuoso Violin Works’, Elgar’s Violin Concerto, ‘Hebrew Melodies’, ‘The Butterfly Lovers’ and many more. His most recent recording in the ‘1930s Violin Concertos’ series – Vol. 2, including Prokofiev’s Violin Concerto No. 2 and Bartók’s Violin Concerto No. 2 – was nominated for a Grammy Award. In 2020 he released a new recording of the Beethoven and Brahms Concertos with Brooklyn-based orchestra The Knights. Gil Shaham was born in Champaign-Urbana, Illinois, in 1971. He moved with his parents to Israel, where he began violin studies with Samuel Bernstein of the Rubin Academy of Music at the age of seven, receiving annual scholarships from the America-Israel Cultural Foundation. In 1981 he made debuts with the Jerusalem Symphony and the Israel Philharmonic, and the following year took the first prize in Israel’s Claremont Competition. He then became a scholarship student at Juilliard, and also studied at Columbia University. Gil Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008 he received the coveted Avery Fisher Prize. In 2012 he was named Instrumentalist of the Year by Musical America. He plays the 1699 ‘Countess Polignac’ Stradivarius, and lives in New York City with his wife, violinist Adele Anthony, and their three children.

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LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

LONDON PHILHARMONIC ORCHESTRA

PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR VLADIMIR JUROWSKI PRINCIPAL CONDUCTOR DESIGNATE EDWARD GARDNER SUPPORTED BY MRS CHRISTINA LANG ASSAEL PRINCIPAL GUEST CONDUCTOR KARINA CANELLAKIS • LEADER PIETER SCHOEMAN SUPPORTED BY NEIL WESTREICH ARTISTIC DIRECTOR CRISTINA ROCCA • CHIEF EXECUTIVE DAVID BURKE • PATRON HRH THE DUKE OF KENT KG

One of the finest orchestras on the international stage, the London Philharmonic Orchestra was founded in 1932 by Sir Thomas Beecham. Since then, its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2007 Vladimir Jurowski became the Orchestra’s current Principal Conductor. Edward Gardner is Principal Conductor Designate, and will take up the position from 2021. Karina Canellakis is the Orchestra’s current Principal Guest Conductor. The London Philharmonic Orchestra has performed at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It also has residencies at Glyndebourne and in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. The Orchestra also tours internationally, performing to audiences worldwide. The Orchestra broadcasts regularly on television and radio, and has recorded soundtracks for numerous films including The Lord of the Rings. In 2005 it began releasing live, studio and archive recordings on its own

CD label, which now numbers over 100 releases. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its own-label recordings are available to download and stream and, as well as a YouTube channel and ‘LPO Offstage’ podcast series, the Orchestra has a lively presence on social media. Over the pandemic period the LPO has further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which have so far collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020. During Autumn 2020 and once again from Spring 2021, the Orchestra is delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed for audiences to enjoy at home free of charge via Marquee TV. lpo.org.uk

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LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

ON STAGE TONIGHT FIRST VIOLINS Pieter Schoeman* LEADER

CELLOS Kristina Blaumane PRINCIPAL

Vesselin Gellev SUB-LEADER Kate Oswin Lasma Taimina

Pei-Jee Ng CO-PRINCIPAL Francis Bucknall Laura Donoghue David Lale Elisabeth Wiklander

Chair supported by Neil Westreich

Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe Catherine Craig Thomas Eisner Martin Höhmann Katalin Varnagy

Chair supported by Sonja Drexler

Yang Zhang

Chair supported by Eric Tomsett

Chair supported by Bianca & Stuart Roden

DOUBLE BASSES Kevin Rundell* PRINCIPAL George Peniston Tom Walley Laura Murphy

Chair supported by Friends of the Orchestra

Lowri Morgan SECOND VIOLINS Tania Mazzetti PRINCIPAL

Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Kate Birchall Fiona Higham

Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Sheila Law

VIOLAS Richard Waters CO-PRINCIPAL Ting-Ru Lai David Quiggle PRINCIPAL Benedetto Pollani Laura Vallejo Stanislav Popov Naomi Holt Martin Wray

FLUTES Juliette Bausor PRINCIPAL

Chair supported by Caroline, Jamie & Zander Sharp

Stewart McIlwham*

OBOES Ian Hardwick* PRINCIPAL Amy Roberts CLARINETS Thomas Watmough PRINCIPAL Chair supported by Roger Greenwood

Paul Richards*

BASSOONS Jonathan Davies PRINCIPAL Chair supported by Sir Simon Robey

Gareth Newman Simon Estell*

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HORNS John Ryan* PRINCIPAL Martin Hobbs Mark Vines CO-PRINCIPAL Gareth Mollison TRUMPETS Paul Beniston* PRINCIPAL Anne McAneney* TIMPANI Simon Carrington* PRINCIPAL

Chair supported by Victoria Robey OBE

PERCUSSION Andrew Barclay* PRINCIPAL * Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: William & Alex de Winton Dr Barry Grimaldi

NEXT CONCERTS SPRING 2021 CONCERT SEASON WITH MARQUEE TV

HOUGH PLAYS BRAHMS WEDNESDAY 19 MAY 2021 8PM

SWAN LAKE WEDNESDAY 2 JUNE 2021 8PM

Brahms Tragic Overture Brahms Piano Concerto No. 1

Vladimir Jurowski conducts his final Royal Festival Hall concert as Principal Conductor and Artistic Advisor of the LPO

Lionel Bringuier conductor Stephen Hough piano

Tchaikovsky Swan Lake

Generously supported by Victoria Robey OBE

Vladimir Jurowski conductor Generously supported by Mrs Aline Foriel-Destezet and The Candide Trust

SIMPLE GIFTS WEDNESDAY 26 MAY 2021 8PM Coleridge-Taylor Hiawatha, Overture Prokofiev Violin Concerto No. 1 Copland Appalachian Spring, Suite Joshua Weilerstein conductor Alina Ibragimova violin

Vladimir Jurowski

Generously supported by Victoria Robey OBE

Each concert will be available via marquee.tv for 7 days for free, no payment details required. To access the performances please create an account with Marquee TV. You will be asked to provide your email address and create a password but you do not need to take out a payment plan or start a free trial to watch the LPO concerts in the first 7 days of their release. Visit marquee.tv and click the SIGN IN/UP button to get started.

ANN UAL APPE AL 20 21

MUSIC WITH MEANING S U P PO RT U S A S W E C R E ATE A N D C ELEB R ATE Music is powerful. It can move, excite and inspire us, creating moments fixed in time and memories to last a lifetime. Until we can enjoy live performances together again, we want to celebrate past musical moments that have a special meaning to you, in the knowledge that these times will come again.

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‘The moment

ss d connectedne of pure joy an heimer’s, listened

20/21 who ha s Alz my Grandma,.’ Inês, LPO Foyle Future First 20 to et to Rigol

‘I wa sb at O ewitched It wa xford’s She by Yehud s a lif e-chaldonian Thei Menuhin ’s v nging atre o mome n 12 Ma iolin playin y nt fo r me. 1959. g ’ De s mond

g Anna Clyne’s ‘ The LPO playin ds. The otherworldliness Prince of Clou le!’ Peter & Lucy

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o I feel Concertuinsually I n li io V ’s – Portnofnfd can be heardArtist 2020/21 ‘Playing voice a O Junior I have a shy.’ Danya, LP y am ver

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LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

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 Mrs Christina Lang Assael Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust William & Alex de Winton Mr & Mrs Philip Kan Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family Associates An anonymous donor Steven M. Berzin Irina Gofman & Mr Rodrik V. G. Cave Gill & Garf Collins Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein Gold Patrons An anonymous donor David & Yi Buckley David & Elizabeth Challen In memory of Allner Mavis Channing Andrew Davenport Sonja Drexler Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood Robert Markwick & Kasia Robinski Francis & Marie-France Minkoff Dame Theresa Sackler Eric Tomsett Andrew & Rosemary Tusa The Viney Family Jenny Watson CBE

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Matthew Stephenson & Roman Aristarkhov Charlotte Stevenson Mr Robert Swannell Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Mr John Weekes Christopher Williams Principal Supporters Anonymous donors Mr Mark Astaire Sir John Baker Mrs A Beare Mr Anthony Boswood Dr Carlos Carreno Desmond & Ruth Cecil Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Mrs Sam Dawson Mr Simon Douglas Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby Mr Stephen Goldring Mr Milton Grundy Nerissa Guest & David Foreman The Jeniffer & Jonathan Harris Charitable Trust Michael & Christine Henry J Douglas Home Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mr Gerald Pettit Mr James Pickford Michael & Carolyn Portillo Mr Robert Ross Mr David Russell Colin Senneck & the Hartley and District LPO Group Priscylla Shaw Nigel Silby Mr Brian Smith Martin & Cheryl Southgate

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Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Roger Woodhouse Mr John Wright Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Julian & Annette Armstrong Lindsay Badenoch Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Andrew Botterill Julian & Margaret Bowden & Mr Paul Michel Mr Lawrence Alfred Bradley Richard & Jo Brass Mr Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Mr Kevin Fogarty Christopher Fraser OBE Mrs Adele Friedland & Friends Mr Daniel Goldstein Mr & Mrs Jeffrey Herrmann Dr Joan Hester Mr David Hodgson The Jackman Family Mr Justin Kitson Mr David MacFarlane Dame Jane Newell DBE Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr Kenneth Shaw Ruth Silvestre Barry & Gillian Smith Ms Natalie Spraggon & David Thomson Ms Mary Stacey Ms Janette Storey

LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

THANK YOU – CONTINUED –

Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Mr Dominic Wallis Joanna Williams Mr C D Yates Mr Anthony Yolland 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) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA) Thomas Beecham Group Members David & Yi Buckley Gill & Garf Collins William & Alex de Winton 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 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 Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Corporate Donors AT&T Barclays L Catterton CHANEL Fund for Women in the Arts and Culture Paul Hastings LLP Payne Hicks Beach Pictet Bank Velocity Black White & Case LLP LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole

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

Preferred Partners After Digital Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust

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Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation Andrew Lloyd Webber Foundation Lord & Lady Lurgan Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation Souter Charitable Trust The Steel Charitable Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous. The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the current pandemic.

LONDON PHILHARMONIC ORCHESTRA • EAST MEETS WEST • 12 MAY 2021

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 Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Valentina & Dmitry Aksenov Richard Buxton The Candide Trust Michael & Elena Kroupeev Kirby Laing Foundation Mr & Mrs Makharinsky Alexey & Anastasia Reznikovich Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas John & Manon Antoniazzi Gabor Beyer, through BTO Management Consulting AG Jon Claydon Mrs Mina Goodman & Miss Suzanne Goodman Roddy & April Gow The Jeniffer & Jonathan Harris Charitable Trust Mr James R.D. Korner Christoph Ladanyi & Dr Sophia LadanyiCzernin Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Mr Paris Natar The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Mr Clive Butler Gill & Garf Collins Mr John H Cook Mr Alistair Corbett Bruno De Kegel Georgy Djaparidze David Ellen Christopher Fraser OBE David & Victoria Graham Fuller Goldman Sachs International Mr Gavin Graham Moya Greene Mrs Dorothy Hambleton Tony & Susie Hayes Malcolm Herring Catherine Høgel & Ben Mardle Mrs Philip Kan Rehmet Kassim-Lakha de Morixe Rose & Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Duncan Matthews QC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation The Rind Foundation Sir Bernard Rix David Ross & Line Forestier (Canada) 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

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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 • EAST MEETS WEST • 12 MAY 2021

LPO ADMINISTRATION BOARD OF DIRECTORS Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Vice-President Roger Barron David Buckley David Burke Bruno De Kegel Tanya Joseph Al MacCuish Tania Mazzetti* Stewart McIlwham* Pei-Jee Ng* Cristina Rocca Andrew Tusa Mark Vines* David Whitehouse* * Player-Director ADVISORY COUNCIL Martin Höhmann Chairman Robert Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Helen Brocklebank Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay MBE 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 Chris Viney Laurence Watt Elizabeth Winter

DEVELOPMENT Laura Willis Development Director

GENERAL ADMINISTRATION Cristina Rocca Artistic Director David Burke Chief Executive CONCERT MANAGEMENT Roanna Gibson Concerts Director

Christina McNeill Corporate Relations Manager