LPO online concert programme: 7 April 2021 - London Calling (cond. Ben Gernon) by London Philharmonic Orchestra

SPRING 2021 CONCERT SEASON

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 7 APRIL 2021 8PM

LONDON CALLING Haydn Symphony No. 30 (Alleluia) Coleridge-Taylor Ballade for Orchestra Mendelssohn Symphony No. 1 Ben Gernon conductor

LONDON PHILHARMONIC ORCHESTRA • LONDON CALLING • 7 APRIL 2021

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 PROGRAMME NOTES: HAYDN 4 PROGRAMME NOTES: COLERIDGE-TAYLOR 6 PROGRAMME NOTES: MENDELSSOHN 8 BEN GERNON 9 LONDON PHILHARMONIC ORCHESTRA 10 ON STAGE TONIGHT 11 NEXT CONCERTS 12 ANNUAL APPEAL 2021: MUSIC WITH MEANING 13 SOUND FUTURES DONORS 14 THANK YOU 17 MEMBERSHIPS & DONATIONS 18 CORPORATE PARTNERSHIPS 19 LPO ADMINISTRATION

Concert performed at the Southbank Centre’s Queen Elizabeth Hall on 13 March 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 • LONDON CALLING • 7 APRIL 2021

TONIGHT’S MUSIC LONDON CALLING Three composers of conspicuous natural and professional ability populate tonight’s programme. Haydn’s early symphonies, written for performance by musicians he knew in front of an aristocratic patron who knew what he liked, are works of unfailing bonhomie but also great character, confidence and skill. No. 30, possibly a piece for Eastertime, gains its ‘Alleluia’ nickname from a cunningly inserted strip of plainchant.

Mendelssohn was one of the most technically gifted of all composers, such that it becomes easy to take for granted that a work as accomplished as his First Symphony was written when he was just 15. And Samuel Coleridge-Taylor, a rare black face among classical composers of Victorian and Edwardian Britain, achieved his greatest successes – tonight’s Ballade among them – while still in his twenties.

FRANZ JOSEPH HAYDN 1732–1809

SYMPHONY NO. 30 IN C MAJOR (ALLELUIA) 1765 – APPROX 12 MINS –

1 ALLEGRO 2 ANDANTE 3 FINALE: TEMPO DI MENUET, PIÙ TOSTO ALLEGRETTO When Haydn joined the service of the Esterházy princes in 1761, his post as Vice-Kapellmeister carried very clearly defined duties, one of which was ‘to compose such pieces of music as his Serene Princely Highness may command’ for performance at his court at Eisenstadt, some 25 miles outside Vienna. In effect, this meant that his job was to write for and direct a small orchestra recently recruited from among the ranks of Vienna’s freelance players. Haydn himself had formerly made a living among them, and many members of the band were his friends. One can readily

imagine the easy-going composer enjoying a pleasant and relaxed working relationship with the musicians under his command, especially in the light of the pieces he wrote for them. They included concertos (some now lost) for violin, cello, double bass, flute and horn, but a number of the symphonies from this time – most famously the popular ‘Le Matin’, ‘Le Midi’ and ‘Le Soir’ – also make a point of featuring short and friendly solo passages for his colleagues to enjoy. Continued overleaf –3–

LONDON PHILHARMONIC ORCHESTRA • LONDON CALLING • 7 APRIL 2021

PROGRAMME NOTES Symphony No. 30, from 1765, is such a work. It carries the nickname ‘Alleluia’ because in its first movement Haydn uses the melody of the ancient ecclesiastical chant associated with the word. But if you happen to know that theme you may be hard put to put your finger on it exactly, for although it is stated in the Symphony’s very opening bars, it is hidden away in the second violin line, and when it finally breaks cover as the second theme it is in a quietly stated, altered version. This variant then dominates the workings of the central development section, before the ‘true’ theme is finally blurted out by the wind instruments at the moment of recapitulation. It seems likely that this Symphony was composed for performance at Easter, and whether or not Haydn’s small aristocratic audience would have recognised the quotation – and given the frequency with which they and the musicians gathered to hear

Haydn’s latest symphonies, they may well have enjoyed listening out for such things – we can certainly picture them responding to the music’s bright celebratory character. The Andante second movement is in the hybrid style Haydn often produced at this time, presumably as a direct result of his desire to keep his musicians happy. Is it a flute concerto or, considering how often the flute actually absents itself from the music’s contented progress, a relaxed movement loosely dotted with solos, in the style of a divertimento? The finale, in the character of a minuet but the approximate shape of a rondo, puts its foot more squarely in the divertimento camp, conjuring colour and good humour from a succession of skilfully integrated interventions from the wind-players.

SAMUEL COLERIDGE-TAYLOR 1875–1912

BALLADE FOR ORCHESTRA IN A MINOR, OP. 33 1898 – APPROX 12 MINS –

Born in London in 1875, Samuel Coleridge-Taylor was apparently known as a man of dignity and patience. It seems to have served him well, for while his career as a musician was reasonably successful, one might well wonder how much more he might have achieved had he not suffered the predictable professional setbacks that followed from him being a man of colour. The son of an English mother and a doctor from Sierra Leone, his talent was clear enough. He entered the Royal College of Music at the age of 15 to study violin, but soon was composing as well, as a pupil of Charles Villiers Stanford. A church anthem by him

was published as early as 1891, and works of his received frequent public performances throughout his student years, including chamber music, songs and a symphony. In 1898 came his greatest success – and the work for which he is mainly remembered – the choral cantata Hiawatha’s Wedding Feast, hugely enjoyed by audiences in Britain and the USA for several decades, and leading to many festival commissions for similar compositions. In the 1900s he was busy as a conductor, both in the theatre (for which he often composed as well) and with numerous choral societies. At one time he contemplated moving to the USA, a country he toured three times, where

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LONDON PHILHARMONIC ORCHESTRA • LONDON CALLING • 7 APRIL 2021

PROGRAMME NOTES a choral society for black singers was named after him, and which stimulated in him an interest in black music that found its way into works such as the African Dances for orchestra and the 24 Negro Melodies for piano. His death from pneumonia in 1912, aged just 37, is thought to have been caused by overwork. Yet he did have influential admirers in England: Stanford was fiercely loyal, Elgar’s publisher A.J. Jaeger rated him ‘a genius’, and when in 1898 the Three Choirs Festival wanted to commission a new orchestral piece from an unwilling Elgar, it was Elgar himself who recommended Coleridge-Taylor for the job instead. The result was the Ballade in A minor, premiered to acclaim in Gloucester that September, and repeated at London’s Crystal Palace two months later. The piece shows perhaps the expected 1890s influences of Tchaikovsky, Dvořák and in certain places Grieg, but its melodies – an athletic, agile opening theme with more than a hint of British bluster, and a romantic second theme for strings derived from the melodic leaps of the first – are strong and memorable.

‘THERE'S A BEAUTIFUL ROMANTIC MIDDLE SECTION THAT IS JUST SO LUSH, AND THE HARMONIES ARE PERFUMED – I'VE REALLY ENJOYED FINDING THAT COLOUR WITH THE ORCHESTRA.’ BEN GERNON, CONDUCTOR

Watch a 3-minute video of Ben introducing the work

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‘ I WISH, WISH, WISH YOU WOULD ASK COLERIDGE-TAYLOR TO DO IT. HE STILL WANTS RECOGNITION, AND HE IS FAR AND AWAY THE CLEVEREST FELLOW GOING AMONGST THE YOUNG MEN.’ EDWARD ELGAR, IN REPLY AN INVITATION TO WRITE A WORK FOR THE THREE CHOIRS FESTIVAL IN 1898

LONDON PHILHARMONIC ORCHESTRA • LONDON CALLING • 7 APRIL 2021

PROGRAMME NOTES FELIX MENDELSSOHN 1809–47

SYMPHONY NO. 1 IN C MINOR, OP. 11 1824 – APPROX 32 MINS –

1 ALLEGRO DI MOLTO 2 ANDANTE 3 MENUETTO: ALLEGRO MOLTO 4 ALLEGRO CON FUOCO The 15-year-old Mendelssohn entitled his Symphony in C minor ‘No. 13’ when he composed it in 1824, a sign that he initially considered it to be next in line in the sequence of twelve accomplished so-called ‘string symphonies’ he had produced in the previous three years. Like those, it was first performed in a private setting, at a gathering in honour of the 19th birthday of his beloved sister, Fanny. But it is not just the presence of wind instruments that places it in a different category from those childhood works and resulted in the eventual initiation of a new numbering sequence. This is a symphony on a higher level of assurance, and though audibly derivative at times of Mozart, Beethoven and Weber, its verve and construction show astonishing ability for a composer of such tender years. The public premiere of what was now officially the First Symphony was given in 1827 in Leipzig by the Gewandhaus Orchestra, the city and ensemble over which the adult Mendelssohn would later exert such a positive influence. The first movement bursts with energy, C minor not signalling tragedy (as in Mozart) or dark turbulence (à la Beethoven), but bracing urgency and drive.

And while the melodic material is not greatly distinguished in itself, the main themes are expertly delineated, the handling of their sequence of statement and return deftly handled. It is followed by an Andante in which the main theme’s comfortable major-key harmonies bring a warmly idyllic feel, though one that gains a certain restlessness from the way it is varied on each return, as well as from recurring syncopated murmurings in the strings. The third movement is a driving C minor Menuetto with a contrasting central Trio in which woodwinds sway gently over lapping strings. When Mendelssohn – now all of 20 years of age – conducted the Symphony’s London premiere in 1829, he substituted for this movement an orchestral enlargement of the brilliant Scherzo from the string Octet he had composed in 1825. The reception was enthusiastic, initiating a lasting and warm relationship with audiences in Britain, where it was performed in this altered form for the rest of the century. For the first publication of the Symphony back in Germany in 1831, however, Mendelssohn restored the original Menuetto. Continued overleaf

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LONDON PHILHARMONIC ORCHESTRA • LONDON CALLING • 7 APRIL 2021

PROGRAMME NOTES The con fuoco finale starts out sounding like the anxious last movement of Mozart’s famous G minor Symphony (No. 40), yet reveals both originality in the way the music slows to admit stalking string pizzicati over which a slender clarinet melody emerges, and almost nonchalant skill in two adroitly assimilated fugues.

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Programme notes © Lindsay Kemp

Have you checked out our LPO podcast, LPO Offstage, yet? Throughout the series, presenter YolanDa Brown chats with members of the Orchestra about their lives off the concert stage. Tune in to hear about brutal conductor takedowns, why you might want to pour water over your double bass, where to get a great post-concert beer, and lots more.

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‘FERTILITY OF INVENTION AND NOVELTY OF EFFECT, ARE WHAT FIRST STRIKE THE HEARERS OF M. MENDELSSOHN’S SYMPHONY; BUT AT THE SAME TIME, THE MELODIOUSNESS OF ITS SUBJECTS, THE VIGOUR WITH WHICH THESE ARE SUPPORTED, THE GRACEFULNESS OF THE SLOW MOVEMENT, THE PLAYFULNESS OF SOME PARTS, AND THE ENERGY OF OTHERS, ARE ALL FELT.’

‘Thank you for a truly wonderful insight into the various aspects of the working and ‘social’ life in the LPO. It has been a true pleasure hearing all the wonderful stories and musical matters you have to negotiate before a single note is played!’ – From a listener, via email

Find LPO Offstage on Apple Podcasts, Spotify, Acast, or wherever you listen. lpo.org.uk/podcast

REVIEW OF THE SYMPHONY’S LONDON PREMIERE

YolanDa Brown

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LONDON PHILHARMONIC ORCHESTRA • LONDON CALLING • 7 APRIL 2021

TONIGHT'S ARTISTS BEN GERNON CONDUCTOR

Equally at home in the opera house, Gernon made his debut in 2018/19 at English National Opera conducting Simon McBurney’s production of The Magic Flute, and returned to Royal Swedish Opera for a new production of Madama Butterfly following his debut the previous season with The Magic Flute. Previous operatic productions have included The Barber of Seville with Glyndebourne Touring Opera and The Marriage of Figaro at Stuttgart Opera.

British conductor Ben Gernon is praised repeatedly for his effortless authority on the podium, his drive and command of the orchestra, and his incisive, heartfelt and evocative interpretations. He has already conducted many of the world’s major orchestras including the Czech Philharmonic, Los Angeles Philharmonic, Chicago Symphony, Oslo Philharmonic and BBC Symphony orchestras, and he is now increasingly in demand in the opera house. Gernon recently made his debuts with orchestras including the Frankfurt Radio Symphony, NDR Radiophilharmonie, Netherlands Philharmonic and Hallé orchestras, and looks forward to forthcoming debuts with the Finnish Radio Symphony, Basel Symphony and Tampere Philharmonic orchestras, amongst others. In July 2020 Gernon’s recording with the London Philharmonic Orchestra and Choir, ‘The 3D Classical Collection’, was released by Warner Classics, including a selection of popular classical music spanning four centuries. Other recent releases include recordings with the Czech Philharmonic, BBC Philharmonic, BBC Scottish Symphony and Royal Scottish National orchestras.

Recent highlights have included many significant debuts across the globe with orchestras such as the Vienna Symphony, Royal Stockholm Philharmonic, Munich Chamber and Swedish Chamber orchestras; the DSO Berlin; the Orchestre National du Capitole de Toulouse; and the Orchestra of St. Luke’s. He is a regular favourite of orchestras in the UK including the Philharmonia, BBC Symphony and City of Birmingham Symphony orchestras, and in 2014 conducted the Scottish Chamber Orchestra at the BBC Proms on the occasion of Sir Peter Maxwell Davies’s 80th birthday. From 2017–20 Gernon was Principal Guest Conductor of the BBC Philharmonic, one of the youngest conductors to have held a titled position with a BBC orchestra. In 2018 he conducted them in a televised performance at the BBC Proms and he continues to work with them regularly. Ben Gernon studied at the Guildhall School of Music & Drama with Sian Edwards, with whom he still works closely, and with Sir Colin Davis, who was a profoundly influential figure in Gernon’s musical development.

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LONDON PHILHARMONIC ORCHESTRA • LONDON CALLING • 7 APRIL 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 March 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 • LONDON CALLING • 7 APRIL 2021

ON STAGE TONIGHT FIRST VIOLINS Pieter Schoeman* LEADER Chair supported by Neil Westreich

Vesselin Gellev SUB-LEADER Kate Oswin Lasma Taimina

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

Minn Majoe Martin Höhmann Katalin Varnagy

Chair supported by Sonja Drexler

Thomas Eisner Yang Zhang

Chair supported by Eric Tomsett

Catherine Craig

SECOND VIOLINS Tania Mazzetti PRINCIPAL

Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Kate Birchall Joseph Maher Marie-Anne Mairesse Ashley Stevens

VIOLAS Richard Waters PRINCIPAL Ting-Ru Lai Laura Vallejo Benedetto Pollani Katharine Leek Stanislav Popov CELLOS Kristina Blaumane PRINCIPAL Chair supported by Bianca & Stuart Roden

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

DOUBLE BASSES Kevin Rundell* PRINCIPAL Sebastian Pennar CO-PRINCIPAL Hugh Kluger George Peniston Tom Walley FLUTES Juliette Bausor PRINCIPAL

Chair supported by Caroline, Jamie & Zander Sharp

Hannah Grayson Stewart McIlwham*

OBOES Ian Hardwick* PRINCIPAL Alice Munday CLARINETS Benjamin Mellefont PRINCIPAL Thomas Watmough Chair supported by Roger Greenwood

BASSOONS Jonathan Davies PRINCIPAL Chair supported by Sir Simon Robey

Gareth Newman Simon Estell*

HORNS John Ryan* PRINCIPAL Martin Hobbs Mark Vines CO-PRINCIPAL Gareth Mollison TRUMPETS Paul Beniston* PRINCIPAL James Fountain* PRINCIPAL Anne McAneney*

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TROMBONES Mark Templeton* PRINCIPAL

Chair supported by William & Alex de Winton

David Whitehouse

BASS TROMBONE Lyndon Meredith PRINCIPAL TUBA Lee Tsarmaklis* PRINCIPAL 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: David & Yi Buckley Friends of the Orchestra Dr Barry Grimaldi

NEXT CONCERTS SPRING 2021 CONCERT SEASON WITH MARQUEE TV

BOHEMIAN RHAPSODIES WEDNESDAY 14 APRIL 2021 8PM Janáček Jealousy Dvořák The Wild Dove Dvořák Cello Concerto Mark Elder conductor Steven Isserlis cello

THE EMPEROR CONCERTO WEDNESDAY 21 APRIL 2021 8PM

WEDNESDAY 5 MAY 2021 8PM Berlioz Les nuits d’été Schumann Symphony No. 4 Maxim Emelyanychev conductor Miah Persson soprano Generously supported by the

WEDNESDAY 12 MAY 2021 8PM

Beethoven Piano Concerto No. 5 (Emperor) Sibelius Symphony No. 7

Arvo Pärt Fratres Mozart Symphony No. 35 Tchaikovsky Violin Concerto

Robin Ticciati conductor Denis Kozhukhin piano

Ryan Bancroft conductor Gil Shaham violin/director (Fratres)

LA VIE PARISIENNE WEDNESDAY 28 APRIL 2021 8PM

WEDNESDAY 19 MAY 2021 8PM

Ravel Mother Goose: Suite Ravel Piano Concerto in G Offenbach Gaîté Parisienne: Ballet Suite

Brahms Tragic Overture Brahms Piano Concerto No. 1 Lionel Bringuier conductor Stephen Hough piano

Fabien Gabel conductor Alexandra Dariescu piano

Each concert will be available via marquee.tv for 7 days for free, no registration required. To access the full season please subscribe to Marquee TV and enjoy the LPO collection together with the world’s best opera, dance, theatre and ideas. Details of how to subscribe and start your free trial at marquee.tv/freetrial

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.

Tell us about a moment of joy or a memory of being moved or transported by music. Whether your moment is an LPO performance from years ago, a recording which has a special place in your heart or a more recent experience with any orchestra, we want to hear from you, the LPO family.

We need your support now to ensure that we can continue to create new musical moments and memories. A gift from you will help sustain the LPO, securing the future of the Orchestra and allowing us to make more moments that matter.

‘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

PLEASE DONATE IF YOU CAN AND SHARE A MOMENT THAT HAS BEEN SPECIAL TO YOU. A GIFT OF ANY SIZE WILL HELP US WEATHER THIS STORM.

Visit lpo.org.uk/musicwithmeaning to donate, to share your moment and to read more.

LONDON PHILHARMONIC ORCHESTRA • LONDON CALLING • 7 APRIL 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 • LONDON CALLING • 7 APRIL 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

Silver Patrons Dr Christopher Aldren David Burke & Valerie Graham The Rt Hon. The Lord Burns GCB Bruno De Kegel Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar John & Angela Kessler The Metherell Family Andrew Neill Mikhail Noskov & Vasilina Bindley Laurence Watt Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Dr Manon Antoniazzi Mr Philip Bathard-Smith Sir Peter Bazalgette Mr Bernard Bradbury Sally Bridgeland In memory of Julie Bromley The Earl & Countess of Chichester Mr John H Cook Howard & Veronika Covington David Ellen David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton Malcolm Herring The Jackman Family Jan & Leni Du Plessis Jamie & Julia Korner Rose & Dudley Leigh Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Drs Frank & Gek Lim Geoff & Meg Mann Mrs Elizabeth Meshkvicheva Peter & Lucy Noble Mr Michael Parlof Marianne Parsons Dr Wiebke Pekrull Jacopo Pessina Mr Roger Phillimore Gillian Pole Mr Michael Posen Sir Bernard Rix Tom & Phillis Sharpe 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 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 Christopher Querée Mr Robert Ross Mr David Russell Colin Senneck & the Hartley and District LPO Group Priscylla Shaw Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein

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Dr Peter Stephenson Mr Ian Tegner Howard & Sheelagh Watson 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 Richard & Briony Linsell 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 Ms Caroline Tate

LONDON PHILHARMONIC ORCHESTRA • LONDON CALLING • 7 APRIL 2021

THANK YOU – CONTINUED –

Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Joanna Williams Mr C D Yates Mr Anthony Yolland

Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker

Hon. Benefactor Elliott Bernerd

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

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 The Candide Trust Gill & Garf Collins Andrew Davenport 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

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

Preferred Partners After Digital Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway

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 The Lawson Trust 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 Victoria Wood Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation

In-kind Sponsor Google Inc

and all others who wish to remain anonymous.

LPO Corporate Circle Leader freuds Sunshine Principal Berenberg 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

Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni 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 Dunard Fund

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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.

WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

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MEMBERSHIPS AND DONATIONS There are many ways in which you can support the LPO at this time: by making a donation, joining as a member, or buying a gift membership for someone else. With your help we can ensure that this Orchestra will not only survive, but thrive. However you choose to give at this time, we remain committed to our supporters and will continue to deliver a range of benefits and exclusive opportunities.

Friends

Benefactors

Support the orchestra that you love. Get priority booking for our Southbank Centre concerts plus access to final rehearsals.

Join a circle of dedicated supporters and get access to the Beecham Bar, special events and Glyndebourne.

From £60

From £600

Gifts in wills

Thomas Beecham Group

Help others to experience the wonder of music by remembering the Orchestra in your will.

Give a major supporting gift and build significant relationships within the Orchestra. Donors can choose to have their gift associated with a player’s chair. From £5,000

lpo.org.uk/support/individuals 020 7840 4212

CORPORATE PARTNERSHIPS Partner with the London Philharmonic Orchestra and enjoy the opportunity to align your business with a world-class orchestra who are committed to delivering music throughout the pandemic. Whether streaming from the concert stage to a global audience, or delivering as much Education and Community work as possible to children, talented young musicians and people with disabilities, the LPO’s activity is varied, engaging, and delivers meaningful benefits to its audiences, participants and partners. A partnership with the LPO offers companies significant brand exposure and an opportunity to meet CSR needs at a time when charitable community work is facing severe disruption.

Principal Partner

OrchLab Project Partner

Principal Supporters

lpo.org.uk/corporate 020 7840 4210

The Victoria Wood Foundation The Victoria Wood Foundation

The Victoria Wood Foundation

LONDON PHILHARMONIC ORCHESTRA • LONDON CALLING • 7 APRIL 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