LPO online concert programme: 2 December 2020 - Bach to the Future (cond. Søndergård) by London Philharmonic Orchestra

AUTUMN CONCERT SEASON 2020

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 2 DECEMBER 2020 • 8PM

2016: BACH TO THE FUTURE Prokofiev Symphony No. 1 (Classical) Anders Hillborg Bach Materia Schubert Overture in B flat, D470 Schubert Symphony No. 5 Thomas Søndergård conductor Pekka Kuusisto violin

LONDON PHILHARMONIC ORCHESTRA • 2 DECEMBER 2020

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 HOW TO WATCH 3 2020 VISION 4 LONDON PHILHARMONIC ORCHESTRA 5 LEADER: PIETER SCHOEMAN 6 ON STAGE TONIGHT 7 PROGRAMME NOTES: PROKOFIEV 8 PROGRAMME NOTES: HILLBORG 10 PROGRAMME NOTES: SCHUBERT 12 THOMAS SØNDERGÅRD 13 PEKKA KUUSISTO 14 AUTUMN CONCERTS 15 PLAY ON APPEAL 16 THANK YOU 18 SOUND FUTURES DONORS 20 MEMBERSHIPS & DONATIONS 21 CORPORATE PARTNERSHIPS 22 LPO ADMINISTRATION Concert recorded at the Southbank Centre’s Royal Festival Hall on 25 November 2020. 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 • 2 DECEMBER 2020

HOW TO WATCH TONIGHT’S CONCERT Go to marquee.tv Each concert will be available for 7 days for free, no registration required. To access the full season please subscribe to MarqueeTV 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

Watch anytime, anywhere Watch on your tablet or phone wherever you are – or download to watch on the go – via the Marquee TV iOS and Android apps. Watch on the big screen For the ultimate viewing experience, download the Marquee TV app directly on your Apple TV, Amazon Fire TV, Android TV, Roku TV or Samsung (coming soon). Alternatively, cast from your phone/ tablet to your Smart TV via AirPlay or Google Chromecast.

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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 • 2 DECEMBER 2020

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 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 • 2 DECEMBER 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. 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.

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

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 • 2 DECEMBER 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 Laura Donoghue David Lale Sue Sutherley

Chair supported by Neil Westreich

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

Minn Majoe Catherine Craig Thomas Eisner Yang Zhang

Chair supported by Eric Tomsett

Martin Höhmann Katalin Varnagy

Chair supported by Sonja Drexler

SECOND VIOLINS Tania Mazzetti PRINCIPAL

Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Marie-Anne Mairesse Ashley Stevens Nynke Hijlkema Kate Birchall Fiona Higham

Chair supported by David & Yi Buckley

Nancy Elan Tina Gruenberg

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

Chair supported by Bianca & Stuart Roden

DOUBLE BASSES Kevin Rundell* PRINCIPAL Sebastian Pennar CO-PRINCIPAL Hugh Kluger George Peniston Tom Walley Laura Murphy Chair supported by Friends of the Orchestra

FLUTES Juliette Bausor PRINCIPAL 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*

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HORNS John Ryan* PRINCIPAL Martin Hobbs Mark Vines CO-PRINCIPAL TRUMPETS Paul Beniston* PRINCIPAL James Fountain* PRINCIPAL Anne McAneney* TIMPANI Simon Carrington* PRINCIPAL Chair supported by Victoria Robey OBE

* Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Andrew Davenport William & Alex de Winton Dr Barry Grimaldi Caroline, Jamie & Zander Sharp

LONDON PHILHARMONIC ORCHESTRA • 2 DECEMBER 2020

PROGRAMME NOTES SERGEI PROKOFIEV 1891–1953

SYMPHONY NO. 1 IN D (CLASSICAL) 1916–17 – APPROX 13 MINS –

1 ALLEGRO 2 LARGHETTO 3 GAVOTTA: NON TROPPO ALLEGRO 4 FINALE: MOLTO VIVACE It can be hard to pin down Prokofiev, a man whose creative personality was shaped more by his easy native talent than artistic credos. In his twenties he was known as one of Russia’s great enfants terribles, an iconoclast who loved to shock with aggressive rhythms and fierce dissonances; yet what piece could be more lyrically friendly and easy on the ear than his First Symphony, composed in 1916–17, to which he gave the reassuring title of ‘Classical’? The work’s origins lie with Prokofiev’s love and respect for Haydn, whose music he had got to know well as a conducting student. ‘It seemed to me’, he wrote, ‘that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in classical style.’ The First can certainly be described as that, not only in its small orchestra and four-movement format of Allegro – slow movement – dance movement – finale, but also in its internal formal procedures; the outer movements are both in sonata form. Yet what is striking here is that there is no real sense of pastiche: this is a work that predates the neo-classical movement of the inter-war period by some years,

and its relaxed good humour suggests more an act of release than intellectual effort. That it is also so recognisably the work of Prokofiev would seem to confirm how naturally the style came to him. The first movement has the airy athleticism of one of Prokofiev’s ballet scores, boldly striding one moment, lightfooted and delicate the next. The rocking bassoon accompaniment to the quiet second theme seems a particularly Haydnesque inspiration. It is followed by an exquisitely wrought Larghetto. While the gently unwinding main theme may be more a product of Prokofiev’s imagination than Haydn’s, the way in which chugging repeated notes power the climax of the central section and then stay on to form a new accompaniment to the main theme’s return brings the flavour of early Beethoven. Next comes a brief Gavotte, an 18th-century dance-type, which Prokofiev parodies but keeps on the right side of the grotesque; the gavotte’s rustic origins are also hinted at in a central ‘pipe and drone’ section. The finale is full of energy and light, and like the first movement has about it the excited air of a ballet scene – and a singularly joyous one at that. Programme note © Lindsay Kemp –7–

LONDON PHILHARMONIC ORCHESTRA • 2 DECEMBER 2020

PROGRAMME NOTES ANDERS HILLBORG BORN 1954

BACH MATERIA 2017 – APPROX 20 MINS –

Bach Materia was written for solo violin and string orchestra with the Finnish violinist Pekka Kuusisto in mind – a unique musician for whom improvisation is a natural ingredient in his performances, hence improvisation is an important part of this composition. In the material of my piece there is also music from Bach’s Concerto, as well as music written in his spirit, and my own. There are three sections where the soloist is given carte blanche to do whatever they please. Additionally, at the request of conductor Thomas Dausgaard, who premiered the work, I composed a second movement to Bach’s own ‘Brandenburg’ Concerto No. 3, as there is none. A variation of that material is also present in my own piece. Bach Materia is warmly dedicated to Pekka Kuusisto. Anders Hillborg, July 2017

Some years ago, Gregor Zubicky, Artistic Director of the Swedish Chamber Orchestra, created ‘The Brandenburg Project’. Six composers – Brett Dean, Mark-Anthony Turnage, Olga Neuwirth, Steven Mackey, Uri Caine and I – were asked to compose companion pieces to Bach’s ‘Brandenburg’ Concertos, and I was allotted No. 3.

‘MADCAP BUT VERY MOVING … FULL OF CRAZY SWITCHES BETWEEN STYLES, WHISTLING AND HUMMING FROM [THE] SOLOIST, A HENDRIX-INSPIRED DUET, ALL DELIVERED WITH WINNING PANACHE AND SUITABLE THEATRICALITY.’ DAVID KETTLE (THE SCOTSMAN), FOLLOWING THE WORK’S SCOTTISH PREMIERE BY THE SCOTTISH CHAMBER ORCHESTRA & PEKKA KUUSISTO, OCTOBER 2019

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LONDON PHILHARMONIC ORCHESTRA • 2 DECEMBER 2020

COMPOSER PROFILE ANDERS HILLBORG One of Sweden’s leading composers, Anders Hillborg is that rare artist whose music strikes a chord across many different countries and cultures. Born in Sweden in 1954, his early interest in electronic music developed during his time as a keyboard improviser in a pop band, but contact with Brian Ferneyhough and the music of Ligeti quickly led to a fascination with counterpoint and orchestral writing.

commission from the LA Philharmonic and Chicago Symphony orchestras.

Since then, Hillborg’s love of pure sound and the energy that he gives it have appealed to many conductors including Alan Gilbert, Sakari Oramo, Kent Nagano and Gustavo Dudamel. Peacock Tales, Hillborg’s theatrical clarinet concerto for Martin Fröst, displays another strand of his large and varied output: a sense of humour and the absurd. The piece has been taken up with enthusiasm in several different versions and has received a staggering number of performances. Mouyayoum for 16-voice a cappella choir is one of Hillborg’s most popular works, riffing on a rhythmically complex overtone series unadorned with words. Here, as always, Hillborg’s ear for the subtleties of the voice and his natural lyricism are unmistakable. Above all, his music is borne out of a refreshing stylistic freedom matched by an innate communicative ability. His sphere of activity extends well beyond the concert hall to embrace a wide range of pop and film music: in 1996 he won a Swedish Grammy for his work on singer Eva Dahlgren’s album ‘Jag vill se min älskade komma från det vilda’ (I want to see my love come in from the wild). 2011 saw the premiere of Hillborg’s Cold Heat by the Berlin Philharmonic under David Zinman. The advocacy of Esa-Pekka Salonen has resulted in numerous works including Dreaming River (premiered by the Royal Stockholm Philharmonic Orchestra in 1999); Eleven Gates (2005–06), premiered and commissioned by the Los Angeles Philharmonic; and most recently Sirens, a joint

With each passing year, Hillborg’s international reputation grows apace. His music has twice been the subject of a Royal Stockholm Philharmonic Composer Festival (1999/2014) and he has also enjoyed residencies at Soundstreams, Toronto (2003), Avanti! (1995/2005), Aspen (2008), and most recently in Hamburg (where he is Composer-inResidence with the NDR). An extensive discography (more than 24 recordings) includes four portrait discs on BIS. Recently recorded by Decca, Hillborg’s song cycle for Renée Fleming, The Strand Settings, received a rapturous reception at London’s Barbican, whilst the UK premiere of Beast Sampler at the 2015 BBC Proms led The Times to pronounce: ‘Spectralism writ large: more please’. In recognition of his music’s extraordinary international reach, Hillborg was awarded the Swedish Government’s 2015 Music Export Prize, an accolade more usually reserved for pop and rock artists. In April 2018 the London Philharmonic Orchestra and Vladimir Jurowski gave the world premiere at Royal Festival Hall of Hillborg’s Mantra – Elegy (Homage to Stravinsky), which the Orchestra commissioned with the support of the Ernst von Siemens Music Foundation and the Aspen Music Festival. In January 2019 Marin Alsop conducted the Orchestra in the world premiere, also at the Royal Festival Hall, of Sound Atlas, commissioned by the London Philharmonic Orchestra, Los Angeles Philharmonic, NDR Elbphilharmonie and Göteborgs Symfoniker. Hillborg’s recent compositions include concertos for Lisa Batiashvili and Nicolas Altstaedt, and the orchestral work Through Lost Landscapes, which was premiered in February 2020 as part of a BBC Symphony Orchestra ‘Total Immersion’ festival devoted to his music. Profile © Faber Music

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LONDON PHILHARMONIC ORCHESTRA • 2 DECEMBER 2020

PROGRAMME NOTES FRANZ SCHUBERT 1797–1828

OVERTURE IN B FLAT, D470 1816

SYMPHONY NO. 5 IN B FLAT, D485 1816

– APPROX 7 MINS –

– APPROX 30 MINS –

Schubert’s First Symphony dates from 1813, but the 16-year-old was far from a beginner as an orchestral composer, having already composed three concert overtures, plus one for his first opera, Der Spiegelritter. By the time he came to compose the Overture in B flat in September 1816, he was a veteran of four further opera overtures, as well as three more symphonies. It is not surprising, then, that the B flat Overture should, as so many of Schubert’s early works do, show considerable expertise and assurance, even while in style and format (particularly its slow introduction) it clearly owes much to Haydn. The circumstances of its composition are not known: perhaps it was another concert overture, but the suggestion has been made that it was intended to open the cantata Schubert composed for performance at the Imperial and Royal Orphanage in Vienna for its 20th anniversary, and which he dedicated to its founder (and Schubert family friend) Josef Spendou.

1 ALLEGRO 2 ANDANTE CON MOTO 3 MENUETTO & TRIO: ALLEGRO MOLTO 4 ALLEGRO VIVACE The reputation of Schubert as a symphonist has long struggled against his own universally acknowledged genius as a song composer and the towering presence of the nine symphonies of Beethoven. As a result, they have trodden a long road to acceptance; not one received a professional performance during his lifetime, and while the Fifth, Eighth and Ninth have been in the repertory since the middle of the 19th century, it was only in the age of recording that the first six emerged into wider public consciousness. It was the fate of all 19th-century symphonists to be measured against Beethoven, but to appreciate Schubert fully one has to look not for when he was most like his great contemporary, or indeed Haydn and Mozart, but to let his own elegant and – for all its obvious lyricism – no less determined course speak for itself. During his short life he finished seven symphonies, abandoned at least six more, and completed in short score another, so clearly it was a form that mattered to him, and one he would always approach on his own terms. The listener’s principal task is simply to surrender to them. Continued overleaf – 10 –

LONDON PHILHARMONIC ORCHESTRA • 2 DECEMBER 2020

PROGRAMME NOTES

SCHUBERT: SYMPHONY NO. 5 IN B FLAT CONTINUED

To remark that the Fifth Symphony shows the influence of Mozart’s graceful spirit is only marginally more of an exercise in stating the obvious than to say that, written in the autumn of 1816, it shows its own composer’s distinctive stylistic hand at almost every turn. The circumstances that reconciled these apparently opposed concerns are not hard to divine. Schubert’s first five symphonies were all composed for performance by the small semi-professional orchestra that had grown out of his family’s own string quartet rehearsals, and which by 1816 was gathering in the house of Otto Hatwig, a professional violinist who acted as leader. Schubert played viola, and a friend later recalled how ‘above all the glorious symphonies in G minor [No. 40] by Mozart, and in D major [No. 2] by Beethoven made the profoundest impression on young Schubert every time’. Thus he was not only intimately acquainted with some of the greatest of recent Classical symphonies, he also had practical experience of composing examples of his own. And lest there be any doubt that his own musical personality was already an advanced one at this early stage in his career, it is worth remembering that by the time of the Fifth Symphony he had already produced such powerful and admired songs as Gretchen am Spinnrade and Erlkönig.

(wonderfully described by 20th-century critic Hans Keller as ‘a transition from nothing into music’) which appears at first to be a just curtain-raiser to a movement with two elegant main themes of independent cut, until it later reappears dreamily to initiate the central development section. The second movement is song-like, but gains depth from some imaginative key-changes in the wind-and-string dialogues of the central sections. There is a switch to G minor for the next movement, in which the forceful gestures of the Menuetto inevitably recall Schubert’s Mozartian favourite in that key, while the peasant-like Trio, with its gambolling bassoon, reminds us of Haydn. The finale, too, has a hint of Haydn in its jaunty main theme, yet by now all thoughts of derivativeness have long been banished by the sheer warmth and unassuming mastery of this flawless work. Schubert programme notes © Lindsay Kemp

The Fifth has long been the most popular of Schubert’s early symphonies, no doubt for its lyrical beauty and simple formal perfection. It is the most lightly scored of them, content with an orchestra slimmer than that of many of Haydn and Mozart’s later symphonies and revelling in a textural clarity that allows for some sweetly playful contrapuntal exchanges. The first movement opens with a delicious four-bar phrase – 11 –

LONDON PHILHARMONIC ORCHESTRA • 2 DECEMBER 2020

TONIGHT'S ARTISTS THOMAS SØNDERGÅRD CONDUCTOR

Orchestra (Berlin Festival and Poland) Deutsches Symphonie-Orchester Berlin, Deutsche Kammerphilharmonie Bremen, Bamberger Symphoniker and SWR Sinfonieorchester. Elsewhere in Europe, his appearances have included the Royal Concertgebouw, Rotterdam Philharmonic, Netherlands Philharmonic, Luxembourg Philharmonic and Brussels Philharmonic orchestras; the Orchestre National de France, the Orchestre National du Capitole de Toulouse and the Orchestre National de Lyon. North American engagements have included the Chicago, Toronto, Atlanta, Vancouver, Detroit, Houston and Seattle symphony orchestras.

Danish conductor Thomas Søndergård is Music Director of the Royal Scottish National Orchestra, following six seasons as Principal Guest Conductor. He served as Principal Conductor of the BBC National Orchestra of Wales (BBC NOW) between September 2012 and August 2018, and prior to this, as Principal Conductor and Musical Advisor of the Norwegian Radio Orchestra for three seasons. In October 2016 Thomas conducted the LPO in a Royal Festival Hall performance of Sibelius’s King Kristian II Suite, Panufnik’s Violin Concerto with soloist Sergej Krylov, and Shostakovich’s Symphony No. 5. Other UK guest conducting engagements have included the London Symphony, BBC Symphony, City of Birmingham Symphony and Philharmonia orchestras; and in Scandinavia, the Danish National Symphony, Oslo Philharmonic, Gothenburg Symphony, Royal Stockholm Philharmonic, Swedish Radio Symphony and Finnish Radio Symphony orchestras. He has also toured with the Royal Danish Orchestra to Hamburg and Korea. Engagements with German ensembles have included the Gewandhausorchester Leipzig, WDR Sinfonieorchester Köln, Rundfunk-Sinfonieorchester Berlin (Berlin and Moscow), Mahler Chamber

Highlights of Thomas’s 2020/21 season with the RSNO include leading its first digital season featuring works by Beethoven, Wagner and Mozart, among others; and an eight-concert tour of Japan with acclaimed soloists Midori and Kyoko Takezawa, for the 38th edition of the prestigious Toshiba Grand Concert. He also returns to the Orchestre National de France and the Gothenburg Symphony, Danish National Symphony, Royal Danish Opera and Chicago Symphony orchestras. This season sees Thomas make his debuts with Zurich Opera (Weill’s The Rise and Fall of the City of Mahagonny) and with the NDR Radiophilharmonie Hannover.

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LONDON PHILHARMONIC ORCHESTRA • 2 DECEMBER 2020

TONIGHT'S ARTISTS PEKKA KUUSISTO VIOLIN

accordionist Dermot Dunne and folk artist Sam Amidon.

Violinist, conductor and composer Pekka Kuusisto is renowned for his artistic freedom and his fresh approach to repertoire. Widely recognised for his flair in directing ensembles, he will become Artistic Director of the Norwegian Chamber Orchestra from the 2021/22 season, and is Artistic Partner with the Saint Paul Chamber Orchestra and the Mahler Chamber Orchestra. He is also a Collaborative Partner of the San Francisco Symphony, and Artistic Best Friend of the Deutsche Kammerphilharmonie Bremen. In the 2020/21 season he is Artist-in-Residence with the hr-Sinfonieorchester Frankfurt, with whom he will appear as soloist, conductor and chamber musician. He is also In-Residence at Milton Court at London’s Barbican, culminating in a concert with the Norwegian Chamber Orchestra.

In the 2020/21 season he will premiere new concertos by Bryce Dessner, Đuro Živković and Enrico Chapela, and chamber works by Sauli Zinovjev and Calliope Tsoupaki. He also performs concertos written for him including Daníel Bjarnason’s Violin Concerto and Nico Muhly’s Shrink. In recent seasons he has premiered new works by Sauli Zinovjev, Anders Hillborg, Philip Venables and Andrea Tarrodi. He also tours the world with orchestras such as the Chicago and Los Angeles symphony orchestras, Royal Concertgebouw Orchestra, Orchestre de Paris, Deutsches SymphonieOrchester Berlin, WDR Sinfonieorchester Köln, BBC Symphony Orchestra and Philharmonia Orchestra, as well as the Tapiola Sinfonietta and the Australian, Scottish and Swedish chamber orchestras. Kuusisto has released several recordings, notably for Ondine and BIS. He has recently recorded Thomas Adès’s Violin Concerto with the Aurora Orchestra and Nicolas Collon for Deutsche Grammophon, Hillborg’s Bach Materia and Bach’s Brandenburg Concertos Nos. 3 and 4 with the Swedish Chamber Orchestra and Thomas Dausgaard for BIS; and Daníel Bjarnason’s Violin Concerto with the Iceland Symphony Orchestra with the composer conducting for Sono Luminus. Past releases include Erkki-Sven Tüür’s violin concerto Noesis for Ondine, and Sebastian Fagerlund’s violin concerto Darkness in Light for BIS, both recorded with Finnish Radio Symphony Orchestra and Hannu Lintu.

Kuusisto is an enthusiastic advocate of contemporary music and a gifted improviser, and regularly engages with people across the artistic spectrum. Uninhibited by conventional genre boundaries and noted for his innovative programming, recent projects have included collaborations with experimental musicians Hauschka and Kosminen, Dutch neurologist Erik Scherder, electronic music pioneer Brian Crabtree, eminent jazz trumpeter Arve Henriksen, juggler Jay Gilligan, – 13 –

LONDON PHILHARMONIC ORCHESTRA • 2 DECEMBER 2020

MORE ONLINE CONCERTS THIS AUTUMN February– December 2020

lpo.org.uk/2020vision SATURDAY 5 DECEMBER 2020 2017: GAVRYLYUK PLAYS PROKOFIEV

WEDNESDAY 16 DECEMBER 2020 2019: ALL THE WORLD’S A STAGE

Ravel Le tombeau de Couperin Schubert Symphony No. 6 Bent Sørensen Evening Land* Prokofiev Piano Concerto No. 3

J S Bach Brandenburg Concerto No. 5 Brett Dean The Players (UK premiere) Stravinsky Pulcinella (complete)

Thomas Søndergård conductor Alexander Gavrylyuk piano *Please note change of work from originally advertised.

WEDNESDAY 9 DECEMBER 2020 2018: JUROWSKI CONDUCTS ENESCU 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 Alexandra Silocea piano† Concert supported by the *Generously supported by the Romanian Cultural Institute. †

Please note change of soloist from originally advertised.

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 2020: INTERRUPTED STORIES 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 – 14 –

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 • 2 DECEMBER 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 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 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 Anthony Boswood Mr Bernard Bradbury 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 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 Michael & Carolyn Portillo Mr Christopher Querée Mr Robert Ross Mr David Russell Priscylla Shaw Nigel Silby Mr Brian Smith 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 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 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 • 2 DECEMBER 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 Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Damien Vanderwilt 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 Preferred Partners After Digital Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway

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

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 London Community Foundation 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

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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.

LONDON PHILHARMONIC ORCHESTRA • 2 DECEMBER 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

WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA • 2 DECEMBER 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

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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 – 20 –

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.

Principal Partner

OrchLab Project Partner

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 LPOâ&#x20AC;&#x2122;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 Supporters

lpo.org.uk/corporate 020 7840 4210 Andrew Lloyd Webber Foundation

Andrew Lloyd Webber Foundation

Andrew Lloyd Webber Foundation Andrew Lloyd Webber Foundation

LONDON PHILHARMONIC ORCHESTRA • 2 DECEMBER 2020

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

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

Damian Davis Transport Manager

Christina McNeill Corporate Relations Manager