AUTUMN CONCERT SEASON 2020
IN
THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 28 OCTOBER 2020 • 8PM
2013: POEMS OLD AND NEW Sibelius The Bard Magnus Lindberg Cello Concerto No. 2 UK PREMIERE Ravel Trois poèmes de Stéphane Mallarmé Schubert Symphony No. 1 Joshua Weilerstein conductor Anssi Karttunen cello Sally Matthews soprano
LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION
3 HOW TO WATCH 3 2020 VISION 4 PROGRAMME NOTES: SIBELIUS 5 PROGRAMME NOTES: LINDBERG 8 PROGRAMME NOTES: RAVEL 9 SONG TEXTS 11 PROGRAMME NOTES: SCHUBERT 13 JOSHUA WEILERSTEIN 14 ANSSI KARTTUNEN 15 SALLY MATTHEWS 16 LONDON PHILHARMONIC ORCHESTRA 17 LEADER: PIETER SCHOEMAN 18 ON STAGE TONIGHT 19 AUTUMN CONCERTS 20 PLAY ON APPEAL 21 SOUND FUTURES DONORS 22 THANK YOU 25 MEMBERSHIPS & DONATIONS 26 CORPORATE PARTNERSHIPS 27 LPO ADMINISTRATION
Concert recorded at the Southbank Centre’s Royal Festival Hall on 7 October 2020. –2–
LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
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February–December 2020 Tonight’s concert is part of our year-long 2020 Vision series, exploring the journey of music with pioneering works that have defined the sound of the 21st century, alongside music written exactly 100 and 200 years before.
lpo.org.uk/2020vision –3–
LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
PROGRAMME NOTES JEAN SIBELIUS 1865–1957
THE BARD, OP. 64 1913 – APPROX 7 MINS –
Sibelius composed The Bard in early 1913 and conducted its first performance in Helsinki in March that year; he revised it shortly afterwards as the first movement of a three-movement suite, but then abandoned that project and left the piece to stand on its own. It was his first important orchestral work after the Fourth Symphony, with which it shares a mood of brooding austerity. In later life, the composer said that the title referred to a ‘skald’, or bardic poet, of the ancient Scandinavian world, and denied any connection with the poem of the same name by the 19th-century Finnish poet Johan Ludwig Runeberg. But Sibelius’s biographer Erik Tawaststjerna believed that the poem, which the composer would have known well, must have had an influence on the piece. It describes an ancient bard who, after many years in the world, returns to his home valley and takes up his lyre again before he dies.
The bardic harp is prominent at the beginning of the piece, accompanied by sustained harmonies and a three-note string figure, both ways up. A violin melody threatens to open out lyrically, but is quickly extinguished; an episode of tremolando strings proves equally short-lived; the violin melody returns, again dying away. A passage marked Largamente (‘broadly’) in fact sounds faster, because of its urgent off-beat figures in strings and wind, its pounding drums and its flashes of harp scales. An acceleration precedes a sudden moment of high drama, with fierce string tremolandos and the only entry in the whole work of the trombones and trumpets, with a rising figure that Sibelius said was meant to evoke the old Scandinavian ‘lur’ or long horn. ‘It is as if the Bard’s death knell is sounding’, wrote Tawaststjerna. And indeed the harp rings out again only briefly before a quiet major-key close. Programme note © Anthony Burton
‘MUSIC IS, FOR ME, LIKE A BEAUTIFUL MOSAIC THAT GOD HAS PUT TOGETHER. HE TAKES ALL THE PIECES IN HIS HAND, THROWS THEM INTO THE WORLD, AND WE HAVE TO RECREATE THE PICTURE FROM THE PIECES.’ JEAN SIBELIUS –4–
LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
PROGRAMME NOTES MAGNUS LINDBERG BORN 1958
CELLO CONCERTO NO. 2 2013 UK PREMIERE – APPROX 21 MINS –
ANSSI KARTTUNEN CELLO 1. 2. 3.
Time was when a composer was automatically a performer, but Enescu and Rachmaninoff were probably the last major composers who were also great instrumentalists. In our day, instead, collaborative relationships grow up between composers and the musicians who give voice to their music. One of the closest and most fruitful of such partnerships in recent years has been that between Magnus Lindberg and Anssi Karttunen. They’ve been friends since their student days in Helsinki in the mid-1970s, and Lindberg has now written over a dozen works for Karttunen – two of them, indeed, for them to perform together, since they occasionally appear as a piano/ cello duo called Dos Coyotes. Another was the First Cello Concerto, which Karttunen premiered in Paris in 1999, and it was Karttunen who first performed this evening’s work, in Los Angeles in October 2013. The UK premiere had been due to take place with Karttunen and the LPO at Royal Festival Hall on 22 March 2017, but that performance was sadly postponed as a result of the nearby Westminster Bridge terror attack earlier that day.
In a note written for the first performance of the First Concerto, Karttunen drew attention to the perennial problem of cello concertos: ‘The cello has a wider range than most other instruments, but the most commonly used part of it falls precisely in the zone where a large part of the orchestra also earns their living.’ That wasn’t a problem with Lindberg’s early concerto, and it isn’t here either. There are two main reasons: first, the orchestration is restrained (double woodwind, two horns, one each of trumpet and trombone, and strings); and when the cello interacts with the other instruments, its line is generally sustained by the strings, and its dialogues with the woodwind and brass usually involve only one or two other lines of colour in the discussion. Far from being overscored, this Concerto is striking in its clarity. In the few tuttis, the cello simply sits back for a breather and lets the rest of them get on with it. This Second Concerto has some other features in common with the First. They are both in single spans of music built from linked panels anchored around
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LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
PROGRAMME NOTES LINDBERG CONTINUED a central cadenza – improvised in No. 1, fully written out here; and variation technique is an important element in both works, too. In the mid-1980s Lindberg was one of the very first of the generation of young modernist composers who rebelled against the exclusion of classical, directional harmony from modern music, and from then on his works became more and more firmly underpinned by a clear sense of harmonic direction. The harmonic procedures in the music of the greatest of all Nordic composers, Sibelius, often suggests the large-scale unfolding of natural processes; given that Lindberg is also a Nordic composer, it was perhaps inevitable that, as his music began to merge tonal concerns with the intervallic pre-occupations of the serialist, it, too, started to become strongly suggestive of the natural world – and this Concerto is no exception. Might it mirror the passage of a day?
forward, with the cello in constant, whirling exchange with the rest of the orchestra. As the basses repeatedly pull the texture downwards, the music slows into a kind of golden sunset, during which the score instructs the soloist ‘tune C-string to B’ – and the Concerto comes to rest on an exquisite perfect fifth, B and F sharp. It’s another example of Lindberg’s highly individual reconciliation of the serialist focus on intervals with the classical goal of tonal resolution, but there’s something more important than such technical considerations: it sounds gorgeous. Programme note © Martin Anderson
It begins as if albeggiante, at dawn, the cello presenting the intervals on which the piece will be built – a minor third (B–D) and perfect fourth (B flat–E flat) – before slowly awakening the orchestra, soon rousing it to one of the most overtly Romantic climaxes in all of Lindberg’s music: one could almost imagine it as an evocation of the rising sun. As the music unfolds in a passacaglia-like series of variations towards the central climax, it becomes increasingly animated, not least by the semitonal runs that are characteristic of Lindberg’s orchestral writing. A quasi-cadenza unemphatically accompanied by the strings leads into the second movement – at least, that’s what’s indicated in the score, but the music continues without a break and soon leads to the central cadenza, where once again the cello, recalling the opening B–D minor third sul ponticello (on the bridge), is offered a little gentle help from the upper strings. The cello then, with a darkening emphasis on its low C string, suddenly remembers that the tango is Finland’s national dance, and the remaining part of the cadenza does its best to tug the music in that direction; instead, it inspires the orchestra to a passage of the most glorious sea-music, rising and falling figures in woodwind and strings suggesting the heaving of the waves, with flashes of sunlight from the brass – high noon? The aspirations of the cadenza now find their release, as insistent tango rhythms open the third movement and drive the music –6–
LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
COMPOSER PROFILE MAGNUS LINDBERG
© Saara Vuorjoki/Fimic
(1997), Cantigas (1999), Concerto for Orchestra (2002– 03) and Sculpture (2005); and concertos for clarinet (2002), two for violin (2006 and 2015) and two for cello (1999 and 2013). Works also include Seht die Sonne (2007), commissioned by the Berlin Philharmonic under Simon Rattle and the San Francisco Symphony; his first choral-orchestral work GRAFFITI, premiered in Helsinki in 2009; and Era (2012) for the 125th anniversary of the Concertgebouw.
Magnus Lindberg was born in Helsinki in 1958. Following piano studies he entered the Sibelius Academy, where his composition teachers included Einojuhani Rautavaara and Paavo Heininen. The latter encouraged his pupils to look beyond the prevailing Finnish conservative and nationalist aesthetics, and to explore the works of the European avant-garde. This led around 1980 to the founding of the informal group known as the Ears Open Society, including Lindberg and his contemporaries Eero Hämeeniemi, Jouni Kaipainen, Kaija Saariaho and Esa-Pekka Salonen, which aimed to encourage a greater awareness of mainstream modernism. His compositional breakthrough came with two largescale works, Action–Situation–Signification (1982) and Kraft (1983–85), which were inextricably linked with his founding with Salonen of the experimental Toimii Ensemble. This group, in which Lindberg plays piano and percussion, provided the composer with a laboratory for his sonic development. His works at this time combined experimentalism, complexity and primitivism, working with extremes of musical material. During the late 1980s his music transformed itself towards a new modernist classicism, in which many of the communicative ingredients of a vibrant musical language (harmony, rhythm, counterpoint, melody) were re-interpreted afresh for the post-serial era. Lindberg’s output has positioned him at the forefront of orchestral composition, including the concert-opener Feria (1997); large-scale statements such as Fresco
Magnus Lindberg was the London Philharmonic Orchestra’s Composer in Residence from 2014–17, with commissions including Triumph to Exist, which received its world premiere at the Royal Festival Hall under Vladimir Jurowski on the eve of the centenary of Armistice in November 2018; Accused for soprano and orchestra, premiered by Barbara Hannigan and the Orchestra in 2015; and the Violin Concerto No. 2 for Frank Peter Zimmermann, also premiered in 2015. Other highlights included performances of his Gran Duo; Corrente; Two Episodes, premiered by the LPO at the 2016 BBC Proms; the Violin Concerto No. 1 with soloist Christian Tetzlaff; and the Piano Concerto No. 2 with Yefim Bronfman. Lindberg also played an active role in the Orchestra’s education activities, mentoring the five participants on the LPO Young Composers scheme and conducting the annual Debut Sounds concert in 2017. Lindberg was Composer in Residence of the New York Philharmonic from 2009–12, with new works including EXPO, premiered to launch Alan Gilbert’s tenure as the orchestra’s Music Director; Al Largo for orchestra, Souvenir for ensemble; and the Piano Concerto No. 2 for Yefim Bronfman. A new orchestral work, TEMPUS FUGIT, was commissioned by the Finnish Radio Symphony Orchestra to celebrate the centenary of Finnish Independence in 2017, and the Ensemble Intercontemporain premiered Shadow of the Future in 2019. Lindberg’s music has been recorded on the Deutsche Grammophon, Sony, Ondine, Da Capo and Finlandia labels. In 2003 he was awarded the prestigious Wihuri Sibelius Prize. Reprinted by kind permission of Boosey & Hawkes. –7–
LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
PROGRAMME NOTES MAURICE RAVEL 1875–1937
TROIS POÈMES DE STÉPHANE MALLARMÉ 1913 – APPROX 12 MINS –
SALLY MATTHEWS SOPRANO
1 SOUPIR
DEDICATED TO IGOR STRAVINSKY
2 PLACET FUTILE
DEDICATED TO FLORENT SCHMITT
3 SURGI DE LA CROUPE ET DU BOND
DEDICATED TO ERIK SATIE
The song texts and translations begin on page 9. For Maurice Ravel, the poetry of the symbolist Stéphane Mallarmé (1842–98) represented a considerable intellectual challenge. He once remarked that the poet’s ‘unbound visions, yet precise in design, enclosed in a mystery of somber abstractions – an art where all the elements are so intimately bound up together that one cannot analyse, but only sense its effects.’ It was as if, according to Ravel, ‘Mallarmé released unconscious daydreams from their prison.’ Ravel had set his first Mallarmé poem, Sainte, to music in 1896, but when he heard Igor Stravinsky’s Trois poésies de la lyrique japonaise in 1913, he once again succumbed to the allure of Mallarmé’s cryptic symbolist verses. Stravinsky explained that his instrumentation was derived from the score of Schoenberg’s Pierrot Lunaire, which the composer had recently shown him in Berlin. Ravel did not know Schoenberg’s work, but he was eager to explore the colouristic possibilities of working with a chamber ensemble. Consisting of piccolo, flute, clarinet, bass
clarinet, string quartet and piano, the ensemble mirrors the dissociative imagery of the three Mallarmé poems with increased angularity and dissonance. In fact, Ravel’s setting exploits a harmonic scheme that is not tonally oriented. ‘Soupir’ (Sigh), which progresses from traditional tonality to a suggestion of atonality, follows the arched structure of a sigh with the voice rising to a subtle climax before descending in a long and sad release. In ‘Placet Futile’ (Futile Petition), essentially a gentle and melancholy love song, angular vocal lines are delicately supported by chromatic harmonies. Ravel called his setting of ‘Surgi de la croupe et du bond’ (Rising up from its bulge and stem) ‘my strangest, if not my most hermetic’. Indeed, a sparse musical texture is punctured by bell-like octaves at structural points, and scholars have rightfully suggested that the setting adheres to genuine atonality. Programme note © Georg Predota, reprinted by kind permission of Interlude.
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LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
SONG TEXTS RAVEL TROIS POÈMES DE STÉPHANE MALLARMÉ 1 SOUPIR
SIGH
Mon âme vers ton front où rêve, ô calme sœur,
My soul rises towards your brow, oh calm sister, where there lies dreaming An autumn strewn with russet freckles, And towards the restless sky of your angelic eye, As in a melancholy garden, A white fountain faithfully sighs towards the Azure! Towards the compassionate azure of pale and pure October, Which mirrors its infinite languour in the great pools And, on the stagnant water where the tawny agony Of the leaves stirs in the wind and digs a cold furrow, Lets the yellow sun drag itself out in a long ray.
Un automne jonché de taches de rousseur, Et vers le ciel errant de ton œil angélique Monte, comme dans un jardin mélancolique, Fidèle, un blanc jet d’eau soupire vers l’Azur! Vers l’azur attendri d’octobre pâle et pur Qui mire aux grands bassins sa langueur infinie Et laisse, sur l’eau morte où la fauve agonie Des feuilles erre au vent et creuse un froid sillon, Se trainer le soleil jaune d’un long rayon.
English translation © Nicolas Gounin
2 PLACET FUTILE
FUTILE PETITION
Princesse! à jalouser le destin d’une Hébé Qui poind sur cette tasse au baiser de vos lèvres, J’use mes feux mais n’ai rang discret que d’abbé
Princess! in envying the fate of a Hebe, Who appears on this cup at the kiss of your lips, I use up my ardour, but my modest station is only that of abbé And I won’t even appear nude on the Sévres porcelain.
Et ne figurerai même nu sur le Sèvres. Comme je ne suis pas ton bichon embarbé, Ni la pastille ni du rouge, ni Jeux mièvres Et que sur moi je sais ton regard clos tombé, Blonde dont les coiffeurs divins sont des orfèvres!
Since I am not your bewhiskered lapdog, Nor lozenge, nor rouge, nor affected games, And since I know that you look on me with indifferent eyes Blonde whose divine hairdressers are goldsmiths!
Nommez-nous ... toi de qui tant de ris framboisés Se joignent en troupeau d’agneaux apprivoisés Chez tous broutant les vœux et bêlant aux délires,
Appoint me ... you whose many raspberried laughs Are gathered into flocks of docile lambs, Nibbling at all vows and bleating deliriously,
Nommez-nous ... pour qu’Amour ailé d’un éventail M’y peigne flûte aux doigts endormant ce bercail, Princesse, nommez-nous berger de vos sourires.
Appoint me ... in order that Love, with a fan as his wings, May paint me fingering a flute and lulling this sheepfold, Princess, appoint me shepherd of your smiles. English translation © Nicolas Gounin Continued overleaf
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LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
SONG TEXTS CONTINUED 3 SURGI DE LA CROUPE ET DU BOND
RISING UP FROM ITS BULGE AND STEM
Surgi de la croupe et du bond D’une verrerie éphémère Sans fleurir la veillée amère Le col ignoré s’interrompt.
Rising up from its bulge and stem of fragile glassware – with no flowers to crown its bitter vigil – the vase’s neglected neck stops short.
Je crois bien que deux bouches n’ont Bu, ni son amant ni ma mère, Jamais à la même chimère, Moi, sylphe de ce froid plafond!
I do believe the mouths of my mother and her lover never drank from the same love-cup (I, sylph of this cold ceiling).
Le pur vase d’aucun breuvage Que l’inexhaustible veuvage Agonise mais ne consent,
The vase untouched by any drink except eternal widowhood is dying yet never consents
Naïf baiser des plus funèbres! À rien expirer annonçant Une rose dans les ténèbres.
– oh naïve funereal kiss! – to breathe out anything that might herald a rose in the darkness. English translation © Peter Low Reprinted with permission from the LiederNet Archive.
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LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
PROGRAMME NOTES FRANZ SCHUBERT 1797–1828
SYMPHONY NO. 1 IN D MAJOR 1813 – APPROX 27 MINS –
1 ADAGIO — ALLEGRO VIVACE 2 ANDANTE 3 MENUETTO: ALLEGRO 4 ALLEGRO VIVACE
Franz Schubert was born in Vienna in 1797, the son of a schoolmaster who had settled in the city some 14 years before. He showed early musical ability, exercised in the family quartet with his father and older brothers, and in 1808 was successful in winning a place as a chorister in the Imperial Chapel, enabling him to continue his general education at the Staatskonvikt, a school of the highest prestige. It was here that he was exposed to a wider musical world and began to compose. At the Konvikt he could profit from the presence of the old Kapellmeister Salieri and broaden his practical experience by playing the violin in the student orchestra, which he sometimes led. His voice broke in 1812 and he rejected the offer of a scholarship for further study, instead entering the Normal School of St. Anna to train as an elementary teacher. In this capacity he joined his father in the school-room in 1815. The following year he was unsuccessful in an application for a position as music teacher at the Normal School in Laibach (Ljubljana) but left home to lodge instead with his friend Franz von Schober. The remaining years of Schubert’s life were spent predominantly in Vienna, more often than not in the company of friends. There were occasions when he returned briefly to teaching at his father’s school, but
as a composer he proved increasingly prolific, particularly in the writing of songs, welcomed among his own circle and winning him gradually a wider reputation. Some of his songs proved immediately successful, particularly through the advocacy of his friend, the singer Michael Vogl, and there were commissions for the theatre and publication of piano pieces and songs well suited to the new domestic market. His last years, however, were clouded by illness. A syphilitic infection, in those days incurable, took its intermittent course, and he died in November 1828, 20 months after the death of Beethoven. While the latter had from the first enjoyed distinguished patronage and had had an early career as a virtuoso pianist, Schubert had occupied a different position, part, rather, of the society of Biedermeier Vienna. Lacking the esteem and patronage from which Beethoven had profited, Schubert published relatively little and consequently left a great deal of music to be rediscovered posthumously. His orchestral writing was clearly influenced by the repertoire of the Staatskonvikt orchestra, which included symphonies by Mozart and Haydn, as well as the earlier Beethoven symphonies. The family quartet tackled four-part versions of Haydn symphonies and the ensemble grew so that by 1815, under the leadership of the violinist Otto Hatwig, it
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LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
could muster some 20 string players, as well as double woodwind and percussion, providing an orchestra for which Schubert, who played viola, wrote his earlier symphonies and overtures.
The strings open the gently lilting G major Andante, with its change of mood in a second section. The original key very properly returns for the Minuet, now a scherzo rather than a dance, with its contrasting Trio, with all the air of a Ländler.
Schubert’s Symphony No. 1 in D major, with its echoes of late Mozart and of early Beethoven, is said to have been first performed by the orchestra of the Konvikt as a leaving present in honour of the director, lnnocenz Lang. It is scored for flute, with pairs of oboes, clarinets, bassoons, horns, trumpets and drums, with strings. Following the example of Haydn, the first movement opens with a slow introduction, followed by an Allegro vivace in the now customary tripartite form. The exposition has its two contrasting subjects, while the central development ends with a return of material from the introduction. It is not difficult to detect the influence of Beethoven in the melodic material and of Mozart in occasional textures and turns of phrase.
ROBERT SCHUMANN, IN A LETTER TO HIS TEACHER FRIEDRICH WIECK, 1829
Programme note © Naxos Records 8.553093.
© Royal College of Music, London
‘WHERE OTHER PEOPLE KEEP DIARIES IN WHICH THEY RECORD THEIR MOMENTARY FEELINGS, SCHUBERT SIMPLY KEPT SHEETS OF MUSIC BY HIM AND CONFIDED HIS CHANGING MOODS TO THEM; AND HIS SOUL BEING STEEPED IN MUSIC, HE PUT DOWN NOTES WHEN ANOTHER MAN WOULD RESORT TO WORDS.’
The first violins introduce the principal theme of the finale and are also entrusted with the first announcement of the more lyrical second subject. The whole is triumphantly developed, providing a symphony of clear optimism, to the score of which Schubert added the words ‘finis et fine’, thus marking the end of his school career.
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LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
TONIGHT'S ARTISTS JOSHUA WEILERSTEIN CONDUCTOR
© Sim Canetty-Clarke
During his tenure as Artistic Director of the Orchestre de Chambre de Lausanne, the orchestra has thrived under Weilerstein’s leadership and cemented its reputation as one of Europe’s leading chamber orchestras. He has greatly expanded the scope of the orchestra’s repertoire, and together they have released successful and critically acclaimed recordings, and toured throughout Europe with soloists such as Juan Diego Flórez, Lucas Debargue and Albrecht Mayer.
Joshua Weilerstein is the Artistic Director of the Orchestre de Chambre de Lausanne, where his contract has been extended until the end of the 2020/21 season. He also enjoys a flourishing guest conducting career and has established a number of close relationships in both Europe and the USA, including the Orchestre Philharmonique de Radio France, Danish National Symphony Orchestra, Deutsche Kammerphilharmonie Bremen, Royal Liverpool Philharmonic Orchestra, Oslo Philharmonic Orchestra, New York Philharmonic, and the symphony orchestras of Baltimore, Detroit and Milwaukee, among others. He last appeared with the London Philharmonic Orchestra in February 2020, when he conducted a programme of Dvořák and Sibelius at Brighton Dome. In the 2020/21 season Weilerstein is invited to conduct the Royal Liverpool Philharmonic Orchestra, Gürzenich Orchestra Cologne, NDR Radiophilharmonie Hannover, Danish National Symphony Orchestra, Oslo Philharmonic, National Orchestra of Belgium, Netherlands Philharmonic Orchestra and National Symphony Orchestra Taiwan. Engagements in the USA this season include the San Francisco Symphony Orchestra, Indianapolis Symphony Orchestra and Kansas City Symphony Orchestra.
Born into a musical family, Joshua Weilerstein’s formative experience with classical music was as a violinist on tour to Panama and Guatemala with the Youth Philharmonic Orchestra of Boston, where the orchestra performed for thousands of young people who had never before heard a live orchestra concert. This sparked a desire in Weilerstein to pursue a career in classical music. While pursuing his Master’s degree in violin and conducting at the New England Conservatory, he won both the First Prize and the Audience Prize at the Malko Competition for Young Conductors in Copenhagen in 2009. He was subsequently appointed as Assistant Conductor of the New York Philharmonic, where he served from 2012–15. Joshua Weilerstein is deeply committed to programming both traditional and contemporary repertoire. He hosts a classical music podcast called 'Sticky Notes' for music lovers and newcomers alike, which has been downloaded nearly a million times in 154 countries. An advocate for easy communication between the audience and the concert stage, he encourages discussion about all aspects of classical music and the experience of concert-going. The London Philharmonic Orchestra is very grateful to Joshua Weilerstein, who stepped in to conduct tonight’s concert after the originally advertised conductor Jukka-Pekka Saraste was unable to travel owing to the travel and quarantine restrictions between the UK and Switzerland.
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LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
TONIGHT'S ARTISTS ANSSI KARTTUNEN CELLO
© Irmeli Jung
pianist Nicolas Hodges, choreographer Diana Theocharidis, and producer, composer and multiinstrumentalist John Paul Jones.
Anssi Karttunen has always been at the cutting edge of classical music performance and is one of the most innovative cellists on today’s international music scene. He started learning the cello as a four-year-old in Finland, a uniquely fertile ground for music and musicians. In his repertoire he takes a fresh look at well-known masterpieces and brings forgotten works to the public ear, as well as making his own original transcriptions. Anssi Karttunen is a passionate advocate of contemporary music. He has given over 170 world premieres, collaborating with such composers as Magnus Lindberg, Kaija Saariaho and Pascal Dusapin. An astounding 29 concertos have been written for him. He has worked with world-renowned orchestras such as the Philadelphia Orchestra, BBC Symphony Orchestra, NHK Symphony Orchestra, Munich Philharmonic, Oslo Philharmonic, Helsinki Philharmonic and many more. He also performs regularly at Europe’s most important music festivals including Edinburgh, Salzburg, Berlin and Venice. His Zebra Trio, with violinist Ernst Kovacic and violist Steven Dann, performs concerts on both sides of the Atlantic. He also enjoys close collaborations with
Anssi Karttunen's recordings traverse a broad musical spectrum, from Beethoven’s complete works for cello and piano on period instruments to 20th-century solo works. He has released recordings of concertos by Magnus Lindberg, Kaija Saariaho and Esa-Pekka Salonen on Sony Classical, and a DVD of Tan Dun's The Map on Deutsche Grammophon. Two of his recordings were nominated for a Gramophone Award in 2013: a CD of Magnus Lindberg’s chamber music works, and Henri Dutilleux’s Tout un monde lointain, recorded with the Orchestre Philharmonique de Radio France under Esa-Pekka Salonen on Deutsche Grammophon. His recent recordings include Toshio Hosokawa's concerto Chant for Naxos, his own transcription of Brahms’s String Quintet for Toccata Classics, and two tango CDs for Petals and Albany. Born in 1960, Anssi Karttunen studied with Erkki Rautio, William Pleeth, Jacqueline du Pré and Tibor de Machula, among others. From 1999–2005 he was Principal Cellist with the London Sinfonietta. He was Artistic Director of the Avanti! Chamber Orchestra from 1994–98, of the Helsinki Biennale in 1995 and 1997, and of the Festival Musica Nova Helsinki in 2015. He frequently gives masterclasses, including at London's Royal Academy of Music and New York's Carnegie Hall. In 2008 he initiated the annual Creative Dialogue workshop in Santa Fe, in collaboration with the Sibelius Academy. Anssi Karttunen plays on a Francesco Ruggeri cello.
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LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
TONIGHT'S ARTISTS SALLY MATTHEWS SOPRANO
© Sigtryggur Ari Jóhannsson
at Wigmore Hall, the Muziekgebouw, Amsterdam and Carnegie Hall, New York. She has appeared regularly throughout her career at La Monnaie, Dutch National Opera, Theater an der Wien, the Bayerischer Staatsoper and Glyndebourne Festival Opera, in roles including Jenůfa, Daphne, Anne Truelove, Rusalka, Madeleine (Capriccio), Fiordiligi, Donna Anna, Konstanze and Countess. Sally made her Salzburg Festival debut in 2016, singing Silvia in the world premiere of Thomas Adès's The Exterminating Angel, a role repeated in her debuts at the Metropolitan Opera and at the Royal Opera, Covent Garden, where other roles have included Fiordiligi in Così fan tutte; Sifare in Mitridate; Anne Truelove in The Rake’s Progress and Blanche in Poulenc's Dialogues des Carmélites. She recently made her role debut as Ellen Orford in Peter Grimes for Opera Queensland.
Sally Matthews was the winner of the 1999 Kathleen Ferrier Award. She studied at the Guildhall School of Music & Drama, after which she became a member of the Young Artists Programme at the Royal Opera, Covent Garden. Opera engagements this season and beyond include Governess in Britten's The Turn of the Screw for La Monnaie, Brussels; a return to the Deutsches SinfonieOrchester Berlin with Robin Ticciati; Strauss's Four Last Songs with the BBC Philharmonic and Simone Young; and Mahler's Symphony No. 4 at the Dresden Philhamonie with Juanjo Mena. Recent highlights include Dvořák's Rusalka for Glyndebourne Festival Opera with the LPO (recently released on DVD) and with the Deutsches SinfonieOrchester Berlin, both under Robin Ticciati; Wagner's Wesendonck Lieder with the BBC Philharmonic and Simone Young; Barber's Two Scenes from Anthony and Cleopatra for the Chicago Symphony Orchestra and Juanjo Mena; and Schumann's Das Paradies und die Peri with the Cincinnati Symphony Orchestra. On the recital platform last season Sally presented a highly successful Scandinavian/German programme
Sally's previous appearances with the London Philharmonic Orchestra at the Royal Festival Hall include Fauré's Requiem under Yannick Nézet-Séguin in January 2011, and Britten's song-cycle Les Illuminations under Vladimir Jurowski in 2008, which was later released on the LPO Label. She also sings regularly with orchestras including the Philharmonia, London Symphony, Rotterdam Philharmonic, Berlin Philharmonic and Bavarian Radio Symphony, with conductors Antonio Pappano, Bernard Haitink, Simon Rattle, Daniel Harding, Robin Ticciati and Mariss Jansons. Her repertoire includes Mahler's Symphonies Nos. 2, 4 and 8; Brahms's Requiem; Messiaen's Poèmes pour Mi; Mendelssohn's Lobgesang; and Berg's Seven Early Songs. A regular at the BBC Proms, Sally gave the European premiere of Mark-Anthony Turnage's Hibiki in 2017 with the BBC Symphony Orchestra and Kazushi Ono, and performed works by Britten and Barber with the BBC Philharmonic under Juanjo Mena in 2018.
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LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
LONDON PHILHARMONIC ORCHESTRA
© Benjamin Ealovega
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 PATRON HRH THE DUKE OF KENT KG • CHIEF EXECUTIVE DAVID BURKE
One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. In July 2019 Edward Gardner was announced as the Orchestra’s Principal Conductor Designate, and will take up the position when Jurowski’s tenure concludes in September 2021. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Outside London, the Orchestra
has flourishing residencies in Brighton, Eastbourne and at Saffron Hall in Essex, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of recent seasons included a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA. The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download.
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LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
PIETER SCHOEMAN LEADER
Chair supported by Neil Westreich 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.
Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002.
The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. It recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. Over the lockdown period the LPO has sustained its relationship with UK and international audiences through ‘LPOnline’, reaching many thousands of people. From initial individual player performances recorded at home, to online engagement intitiatives such as its wellbeing strand Lean In and Listen, the Orchestra progressed over time to larger-scale split-screen performances, before finally being able to play together in small chamber groups for the free LPO Summer Sessions from Henry Wood Hall, as well as small-scale outdoor performances at Glyndebourne. This autumn the Orchestra returns at last to its Royal Festival Hall home to perform 13 fulllength concerts filmed live and streamed for audiences to enjoy at home via Marquee TV. lpo.org.uk
Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later, while studying with Jack de Wet, he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin and Martin Helmchen. Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim. Pieter has appeared as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC Symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Concertmaster with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music & Dance in London. He has given public masterclasses in Los Angeles, New York, Wrocław, Shanghai, Taipei and London. Pieter proudly plays strings by Thomastik-Infeld.
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LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
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 Gregory Walmsley Elisabeth Wiklander David Lale
Chair supported by Neil Westreich
Chair supported by Irina Gofman & Mr Rodrik V. G. Cave
Minn Majoe Yang Zhang
Chair supported by Eric Tomsett
Catherine Craig Katalin Varnagy
Chair supported by Sonja Drexler
Thomas Eisner Martin Höhmann
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
Marie-Anne Mairesse Nynke Hijlkema Joseph Maher Ashley Stevens Nancy Elan
VIOLAS Ting-Ru Lai PRINCIPAL David Quiggle PRINCIPAL Laura Vallejo Benedetto Pollani Katharine Leek Stanislav Popov Naomi Holt Martin Wray
Chair supported by Bianca & Stuart Roden
DOUBLE BASSES Kevin Rundell* PRINCIPAL Sebastian Pennar CO-PRINCIPAL Hugh Kluger George Peniston Tom Walley FLUTES Juliette Bausor PRINCIPAL Sue Thomas*
Chair supported by Caroline, Jamie & Zander Sharp
Stewart McIlwham*
PICCOLO Stewart McIlwham* PRINCIPAL OBOES Ian Hardwick* PRINCIPAL Alice Munday CLARINETS Benjamin Mellefont PRINCIPAL Thomas Watmough Chair supported by Roger Greenwood
BASS CLARINET Paul Richards* PRINCIPAL BASSOONS Jonathan Davies PRINCIPAL Chair supported by Sir Simon Robey
Gareth Newman Simon Estell*
HORNS John Ryan* PRINCIPAL Martin Hobbs Mark Vines CO-PRINCIPAL Oliver Johnson
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TRUMPETS Paul Beniston* PRINCIPAL Anne McAneney* TROMBONES Mark Templeton* PRINCIPAL
Chair supported by William & Alex de Winton
David Whitehouse
BASS TROMBONE Lyndon Meredith PRINCIPAL TIMPANI Simon Carrington* PRINCIPAL Chair supported by Victoria Robey OBE
Henry Baldwin CO-PRINCIPAL PERCUSSION Andrew Barclay* PRINCIPAL Chair supported by Andrew Davenport
HARP Rachel Masters PRINCIPAL PIANO Catherine Edwards * Holds a professorial appointment in London The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Friends of the Orchestra Dr Barry Grimaldi
LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
MORE ONLINE CONCERTS THIS AUTUMN WEDNESDAY 4 NOVEMBER 2020
SATURDAY 5 DECEMBER 2020
Vivaldi La stravaganza, Concerto No. 1 Schubert Symphony No. 2 Thomas Larcher Ouroboros Reger Variations and Fugue on a Theme by Mozart, Op. 132
Ravel Le tombeau de Couperin Schubert Symphony No. 6 Jonathan Dove Vadam et circuibo civitatem (a cappella) Prokofiev Piano Concerto No. 3
Thierry Fischer conductor Pieter Schoeman violin (Chair supported by Neil Westreich) Kristina Blaumane cello (Chair supported by Bianca & Stuart Roden)
Thomas Søndergård conductor Alexander Gavrylyuk piano London Philharmonic Choir
Generously supported by Cockayne – Grants for the Arts and The London Community Foundation.
WEDNESDAY 9 DECEMBER 2020
This concert will be broadcast live at 7.30pm on Wednesday 21 October on BBC Radio 3, as part of the Southbank Centre’s Inside Out festival.
WEDNESDAY 11 NOVEMBER 2020 Chevalier de Saint-Georges Overture, L’amant anonyme Beethoven Piano Concerto No. 4 Beethoven Ah! Perfido Beethoven Symphony No. 4 Daniele Rustioni conductor Nicolas Namoradze piano Sophie Bevan soprano Concert generously supported by Mrs Aline Foriel-Destezet.
This concert will be broadcast live at 7.30pm on Friday 23 October on BBC Radio 3, as part of the Southbank Centre’s Inside Out festival.
WEDNESDAY 25 NOVEMBER 2020 Schubert Symphony No. 3 Penderecki Concertino for Trumpet and Orchestra Lotta Wennäkoski Verdigris (London premiere) Sibelius Symphony No. 5 Hannu Lintu conductor Gábor Boldoczki trumpet Concert supported by the This concert is supported in part by the Adam Mickiewicz Institute through Polska Music Programme and their partnership with LOT Polish Airlines.
WEDNESDAY 2 DECEMBER 2020 Prokofiev Symphony No. 1 (Classical) Anders Hillborg Bach Materia Schubert Overture in B flat, D470 Schubert Symphony No. 5
J S Bach Orchestral Suite No. 1 Elena Kats-Chernin Piano Concerto No. 3 (European premiere) Enescu Decet, Op. 14* Enescu Chamber Symphony* Vladimir Jurowski conductor Tamara-Anna Cislowska piano Concert supported by the *Generously supported by the Romanian Cultural Institute.
WEDNESDAY 16 DECEMBER 2020 J S Bach Brandenburg Concerto No. 5 Brett Dean The Players (UK premiere) Stravinsky Pulcinella (complete) Vladimir Jurowski conductor Pieter Schoeman violin (Chair supported by Neil Westreich) Juliette Bausor flute Catherine Edwards harpsichord Bartosz Glowacki accordion* Angharad Lyddon soprano Sam Furness tenor Matthew Rose bass* Generously supported by Cockayne – Grants for the Arts and The London Community Foundation.
*Please note changes of soloists from originally advertised.
WEDNESDAY 30 DECEMBER 2020 Vivaldi Overture, La verità in cimento Spohr Symphony No. 2 Honegger Pastorale d’été Bliss Rout James MacMillan Sinfonietta Vladimir Jurowski conductor Mary Bevan soprano
Thomas Søndergård conductor Pekka Kuusisto violin
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PLAY ON APPEAL HELP US CONTINUE TO SHARE THE WONDER OF MUSIC WITH EVERYONE Whether you are a seasoned concert-goer or new to orchestral music, we are delighted to present our autumn season of concerts, on Marquee TV, free of charge for everyone for the first seven days of broadcast. As you enjoy this performance please consider, if you are able, making a donation to support the Orchestra. The LPO has always been an orchestra of the people, for the people, and is driven by an inclusive spirit. Despite facing an uncertain future because of the ongoing devastating impact of the COVID-19 pandemic, we are committed to sharing as much music as possible: to delivering world-class performances to global audiences; to inspiring school students of all ages at our BrightSparks concerts and recordings; to nurturing a fully-inclusive next generation of talented instrumentalists and composers; and to enriching the lives of disadvantaged people and people with disabilities of all ages through the power of music. We may be back on stage, but with the doors to our concerts sadly closed and with no box office income, it is only with your help that we can continue to provide these concerts and our vital Education and Community Programme. With the help of our generous supporters we have made great progress back to the concert platform and are another step closer to returning as the Orchestra you know and love. With your help we will still be here when the time comes to throw our open our doors and welcome you back into the hall to be inspired, moved, challenged and uplifted by the music of the London Philharmonic Orchestra. Thank you to everyone who has supported our Play On Appeal so far. It is with your kind support that we have been able to build back the Orchestra to return to the concert platform for our autumn season.
HELP US PLAY ON To make a donation visit lpo.org.uk/donate or call Rosie Morden, Individual Giving Manager, on 020 7840 4212
LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
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 • 28 OCTOBER 2020
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 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 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 Mr Philip Bathard-Smith Sir Peter Bazalgette 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 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 Dr Manon Antoniazzi Mr Mark Astaire Sir John Baker Mrs A Beare Mr Bernard Bradbury Dr Carlos Carreno Desmond & Ruth Cecil Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett 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 Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mr Gerald Pettit Mr James Pickford Mr Christopher Querée Mr Robert Ross Mr David Russell Priscylla Shaw Nigel Silby Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Howard & Sheelagh Watson Mr John Wright
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Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Julian & Annette Armstrong Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Andrew Botterill 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 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 Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Joanna Williams Mr C D Yates Mr Anthony Yolland
LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
THANK YOU – CONTINUED –
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 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 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 Jill Dyal Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP
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 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 In-kind Sponsor Google Inc 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 David Solomons Charitable Trust The D’Oyly Carte Charitable Trust 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 The Lawson Trust Andrew Lloyd Webber Foundation The London Community Foundation
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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 The Steel Charitable Trust The Thomas Deane Trust The Thriplow Charitable Trust 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.
WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA
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LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
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 – 25 –
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
Andrew Lloyd Webber Foundation
lpo.org.uk/corporate 020 7840 4210
Andrew Lloyd Webber Foundation Andrew Lloyd Webber Foundation
Andrew Lloy Founda
LONDON PHILHARMONIC ORCHESTRA • 28 OCTOBER 2020
LPO ADMINISTRATION BOARD OF DIRECTORS Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Tania Mazzetti* Stewart McIlwham* Pei-Jee Ng* 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 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
GENERAL ADMINISTRATION David Burke Chief Executive CONCERT MANAGEMENT Roanna Gibson Concerts Director Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians Laura Kitson Stephen O’Flaherty Stage Managers Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator EDUCATION AND COMMUNITY Isabella Kernot Education and Community Director (maternity leave) Lindsay Wilson Education and Community Director (maternity cover) Talia Lash Education and Community Manager Emily Moss Education and Community Project Manager Hannah Tripp Education and Community Project Co-ordinator
DEVELOPMENT Laura Willis Development Director Vicky Moran Development Events Manager Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Izzy Keig Lewis Hammond Development Assistants ~ Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate FINANCE Frances Slack Finance Director Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance and IT Officer MARKETING Kath Trout Marketing Director Mairi Warren Marketing Manager Alexandra Lloyd Projects and Residencies Marketing Manager Megan Macarte Box Office Manager (maternity leave) Alice Harvey Box Office Manager (maternity cover) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Sophie Harvey Marketing and Digital Officer
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PUBLIC RELATIONS Premier classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335 ARCHIVES Philip Stuart Discographer Gillian Pole Recordings Archive PROFESSIONAL SERVICES Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons LONDON PHILHARMONIC ORCHESTRA 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045. COVER ARTWORK Ross Shaw @ JMG Studio