LPO online concert programme: 4 November 2020 - Vivaldi, Schubert, Larcher & Reger by London Philharmonic Orchestra

AUTUMN CONCERT SEASON 2020

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 4 NOVEMBER 2020 • 8PM

2014: MEMORY AND RENEWAL Vivaldi La stravaganza, Op. 4 No. 1 Schubert Symphony No. 2 Thomas Larcher Ouroboros Reger Variations and Fugue on a Theme by Mozart Thierry Fischer conductor Pieter Schoeman violin CHAIR SUPPORTED BY NEIL WESTREICH Kristina Blaumane cello CHAIR SUPPORTED BY BIANCA & STUART RODEN Generously supported by Cockayne – Grants for the Arts and The London Community Foundation.

LONDON PHILHARMONIC ORCHESTRA • 4 NOVEMBER 2020

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 HOW TO WATCH 3 2020 VISION 4 THIERRY FISCHER 5 PIETER SCHOEMAN 6 KRISTINA BLAUMANE 7 LONDON PHILHARMONIC ORCHESTRA 8 ON STAGE TONIGHT 9 PROGRAMME NOTES: VIVALDI 11 PROGRAMME NOTES: SCHUBERT 12 PROGRAMME NOTES: LARCHER 14 PROGRAMME NOTES: REGER 16 AUTUMN CONCERTS 17 PLAY ON APPEAL 18 THANK YOU 20 SOUND FUTURES DONORS 22 MEMBERSHIPS & DONATIONS 23 CORPORATE PARTNERSHIPS 24 LPO ADMINISTRATION

Concert recorded at the Southbank Centre’s Royal Festival Hall on 21 October 2020. –2–

LONDON PHILHARMONIC ORCHESTRA • 4 NOVEMBER 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 • 4 NOVEMBER 2020

TONIGHT'S ARTISTS THIERRY FISCHER CONDUCTOR

parks and forged outreach links in Haiti. In celebration of its 75th anniversary season in 2016, he took the orchestra to New York’s Carnegie Hall for the first time in 40 years and released a CD of newly commissioned works by Nico Muhly, Andrew Norman and Augusta Read Thomas.

Thierry Fischer has been Music Director of the Utah Symphony since 2009 and will finish his final term in summer 2023, becoming Music Director Emeritus. He has been Principal Guest Conductor of the Seoul Philharmonic since 2017, with his contract extended to the end of 2020. In March 2020 he began a new position as Music Director of the São Paulo Symphony Orchestra. Fischer made his debut with the London Philharmonic Orchestra in October 2015, when he conducted a programme of Bizet, Ravel and Saint-Saëns’s ‘Organ’ Symphony at the Royal Festival Hall. He returned in March 2018 for a programme including Bernstein’s Chichester Psalms with the LPO and London Philharmonic Choir, alongside works by Stravinsky. Fischer has led the Utah Symphony in composer cycles including Mahler, Ives and Nielsen; he has also released acclaimed performances of Mahler’s Symphonies Nos. 1 and 8 on Reference Records, the latter with the world-renowned Mormon Tabernacle Choir. 2019 saw the first release of a Saint-Saëns symphony cycle on Hyperion as part of an ongoing collaboration (also to excellent reviews). He has conducted the orchestra in Utah’s five national

For his inaugural concerts in São Paulo, Fischer conducted Beethoven’s Missa Solemnis with the OSESP Orchestra and Chorus to launch their 2020 Beethoven season. Last season’s highlights also included three back-to-back Beethoven programmes with the Brussels Philharmonic; at the Southbank Centre he conducted works by Tristan Murail with the London Sinfonietta and Stravinsky’s Rite of Spring with the Royal Philharmonic Orchestra. As well as concerts with his titled orchestras, plans for autumn 2020 include Bach and Stravinsky in Stavanger, Saint-Saëns with the Bournemouth Symphony, and Haydn and Prokofiev with the Orchestre national des Pays de la Loire. As Principal Conductor of the BBC National Orchestra of Wales from 2006–12, Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum and Orfeo. In 2014 he released a Beethoven disc with the London Philharmonic Orchestra on the Aparte label. Thierry Fischer began his career as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe, where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland and became Principal Conductor and Artistic Advisor of the Ulster Orchestra (2001–06). He was Chief Conductor of the Nagoya Philharmonic from 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor. –4–

LONDON PHILHARMONIC ORCHESTRA • 4 NOVEMBER 2020

TONIGHT'S ARTISTS PIETER SCHOEMAN VIOLIN • LEADER CHAIR SUPPORTED BY NEIL WESTREICH

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. He frequently records violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy, as well as The Hobbit and Eastern Promises, among others. He also led the LPO in its recording of all the world’s national anthems for the London 2012 Olympics. 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 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.

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.

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. –5–

LONDON PHILHARMONIC ORCHESTRA • 4 NOVEMBER 2020

TONIGHT'S ARTISTS KRISTINA BLAUMANE CELLO CHAIR SUPPORTED BY BIANCA & STUART RODEN

Kristina is a keen promoter of new music. She has given a number of world premieres and several works are dedicated to her, among them cello concertos by Dobrinka Tabakova, Kristaps Pētersons, Pēteris Plakidis and Artem Vassiliev. Kristina appears as a soloist on the ECM debut disc of composer Dobrinka Tabakova, which reached number 2 in the UK classical charts and received a GRAMMY nomination. Kristina has also recorded for the Onyx, Quartz and BMG labels. Kristina is a winner of many awards including the Latvian Philharmonic Young Musician of the Year, the Latvian television competition ‘Alternativa’, Carmel International Competition, Musicians Benevolent Fund and Lord Mayor’s Prize. She is a two-time laureate of the Great Music Award, the highest prize given by the Latvian State in the field of music (2005 & 2007).

Kristina Blaumane has been Principal Cello of the London Philharmonic Orchestra since 2007. She was born in Riga and graduated from the Latvian Academy of Music and the Guildhall School of Music & Drama. Kristina has been invited to play as a soloist, recitalist and chamber musician around the world. She has performed as soloist with the London Philharmonic Orchestra, Amsterdam Sinfonietta, Chicago Civic Orchestra, Kremerata Baltica, Britten Sinfonia, Lithuanian Chamber Orchestra, Sofia Soloists, Netherlands Wind Ensemble and Dalarna Sinfonietta, as well as all the main orchestras in Latvia. As a chamber musician she has worked in partnership with such renowned artists as Isaac Stern, Gidon Kremer, Yo Yo Ma, Yuri Bashmet, Leif Ove Andsnes, Janine Jansen, Julian Rachlin, Dmitry Sitkovetsky, Bruno Giuranna, Misha Maisky, Nikolaj Znaider, Tatyana Grindenko and Oleg Maisenberg, among others, and has performed at festivals such as Lockenhaus, Gstaad, Salzburg, Verbier, Basel, Jerusalem, Utrecht, Spitalfields, Cheltenham, Aldeburgh, Homecoming and Crescendo.

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LONDON PHILHARMONIC ORCHESTRA • 4 NOVEMBER 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 PATRON HRH THE DUKE OF KENT KG • CHIEF EXECUTIVE DAVID BURKE

One of the finest orchestras on the international stage, the London Philharmonic Orchestra was founded in 1932 by Sir Thomas Beecham. Since then, its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2007 Vladimir Jurowski became the Orchestra’s current Principal Conductor. Edward Gardner is Principal Conductor Designate, and will take up the position from 2021. The London Philharmonic Orchestra has performed at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It also has residencies at Glyndebourne and in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. The Orchestra also tours internationally, performing to audiences worldwide. The Orchestra broadcasts regularly on television and radio, and has recorded soundtracks for numerous films including The Lord of the Rings. In 2005 it began releasing live, studio and archive recordings on its own CD label, which now numbers over 100 releases.

The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its 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 pandemic 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

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LONDON PHILHARMONIC ORCHESTRA • 4 NOVEMBER 2020

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

Vesselin Gellev SUB-LEADER Kate Oswin Lasma Taimina

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

Minn Majoe Martin Höhmann Katalin Varnagy

Chair supported by Sonja Drexler

Catherine Craig Yang Zhang

Chair supported by Eric Tomsett

Georgina Leo

SECOND VIOLINS Tania Mazzetti PRINCIPAL

Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Marie-Anne Mairesse Fiona Higham

Chair supported by David & Yi Buckley

Kate Birchall Nynke Hijlkema Ashley Stevens Joseph Maher Nancy Elan

VIOLAS Richard Waters PRINCIPAL Ting-Ru Lai David Quiggle PRINCIPAL Benedetto Pollani Katharine Leek Laura Vallejo Naomi Holt Joseph Fisher

CELLOS Pei-Jee Ng PRINCIPAL Francis Bucknall Gregory Walmsley Laura Donoghue David Lale Sue Sutherley DOUBLE BASSES Sebastian Pennar PRINCIPAL Hugh Kluger George Peniston Tom Walley Laura Murphy

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

Chair supported by Friends of the Orchestra

FLUTES Juliette Bausor PRINCIPAL Sue Thomas*

PERCUSSION Andrew Barclay* PRINCIPAL Chair supported by Andrew Davenport

Henry Baldwin CO-PRINCIPAL

Chair supported by Caroline, Jamie & Zander Sharp

Stewart McIlwham*

OBOES Ian Hardwick* PRINCIPAL Alice Munday

HARP Rachel Masters PRINCIPAL PIANO Katherine Tinker

CLARINETS Benjamin Mellefont PRINCIPAL Thomas Watmough

HARPSICHORD Bernard Robertson

Paul Richards*

* Holds a professorial appointment in London

Chair supported by Roger Greenwood

BASSOONS Jonathan Davies PRINCIPAL Chair supported by Sir Simon Robey

Gareth Newman Simon Estell*

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

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LONDON PHILHARMONIC ORCHESTRA • 4 NOVEMBER 2020

PROGRAMME NOTES ANTONIO VIVALDI 1678–1741

LA STRAVAGANZA, OP. 4: CONCERTO NO. 1 IN B FLAT MAJOR FOR VIOLIN AND ORCHESTRA, 1712–13 – APPROX 9 MINS –

PIETER SCHOEMAN VIOLIN CHAIR SUPPORTED BY NEIL WESTREICH

1 ALLEGRO 2 LARGO E CANTABILE 3 ALLEGRO Known in his native Venice as The Red Priest, from the inherited colour of his hair, Antonio Vivaldi was born in 1678, the son of a barber who later served as a violinist at the great Basilica of St Mark. Vivaldi studied for the priesthood and was ordained in 1703. At the same time he won a reputation for himself as a violinist of phenomenal ability and was appointed violinmaster at the Ospedale della Pietà. This last was one of four such charitable institutions, established for the education of orphan, indigent or illegitimate girls and boasting a particularly fine musical tradition. Here the girls were trained in music, some of the more talented continuing to serve there as assistant teachers, earning the dowry necessary for marriage. Vivaldi’s association with the Pietà continued intermittently throughout his life, from 1723 under a contract that provided for the composition of two new concertos every month. At the same time he enjoyed a connection with the theatre, as the composer of some 50 operas, director and manager. He finally left Venice in 1741, travelling to Vienna,

where there seemed some possibility of furthering his career under imperial patronage. He died there a few weeks after his arrival in the city, in relative poverty. Visitors to Venice had borne witness to Vivaldi’s prowess as a violinist, although some found his performance more remarkable than pleasurable. He certainly explored the full possibilities of the instrument, while perfecting the newly developing form of the Italian solo concerto. He left nearly 500 concertos, many for the violin but there were others for a variety of solo instruments or for groups of instruments. He claimed to be able to compose a new work quicker than a copyist could write it out, and he clearly coupled immense facility with a remarkable capacity for variety within the confines of the threemovement form, with its faster outer movements framing a central slow movement. Continued overleaf

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LONDON PHILHARMONIC ORCHESTRA • 4 NOVEMBER 2020

PROGRAMME NOTES The two books that constitute Vivaldi’s La stravaganza were published in Amsterdam in 1712 or 1713 and dedicated to the young Venetian nobleman Vettor Dolfin, a former pupil to whom Vivaldi accounts himself in his dedication as more a friend than a guide. This collection of concertos followed the earlier set of twelve, L’estro armonico of 1712 and earlier sets of trio sonatas, published in Venice in 1705 as Op. 1, and of solo violin sonatas, issued as Op. 2 in Venice in 1709. The first of the set, the Concerto in B flat major, RV383a, opens with a forthright ritornello, leading to a first solo passage for two solo violins and solo cello, giving it the appearance of a concerto grosso with a concertina solo group. The slow movement is an aria for solo violin, fully accompanied by the repeated notes of the orchestra. There is an extended introductory passage in the last movement, before the long solo entry, accompanied by continuo, and the final orchestral conclusion. Programme note by Keith Anderson © Naxos Records 8.553323

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‘THERE ARE NO WORDS, IT’S ONLY MUSIC THERE.’ ANTONIO VIVALDI

LONDON PHILHARMONIC ORCHESTRA • 4 NOVEMBER 2020

PROGRAMME NOTES FRANZ SCHUBERT 1797–1828

SYMPHONY NO. 2 IN B FLAT MAJOR 1814–15 – APPROX 30 MINS –

1 LARGO – ALLEGRO VIVACE 2 ANDANTE 3 MENUETTO: ALLEGRO VIVACE – TRIO 4 PRESTO VIVACE Franz Schubert was born in Vienna in 1797, the son of a schoolmaster. 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. 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. Franz Schubert composed his Second Symphony between December 1814 and March 1815, as he began teaching at his father’s school. Yet the Symphony still has ties to the seminary that had trained him: it is dedicated to the headmaster, Innocenz Lang, and the seminary orchestra played the premiere performance. Like his First Symphony, it begins with a slow introduction: the Largo alternates between forceful chords from the winds, brass, and timpani, and winding, chromatic lines from the strings. The ensuing Allegro vivace bursts forth with a sprinting theme that borrows heavily from Beethoven’s overture to The Creatures of Prometheus. Schubert’s theme, however, playfully places an accent on the second beat of the bar, giving a slight displacement

that jolts the melody forward. The second theme maintains the momentum through a constantly oscillating accompaniment that buzzes beneath the soaring melody. The development isolates a threenote gesture and layers it on top of itself, all while the quavers continue their frantic pace. The texture grows more intricate, then clears up just before the recapitulation revisits the earlier thematic material. The Andante second movement features a theme and variations. The theme, introduced by the strings alone, is characteristic of Schubert the songwriter: tuneful and balanced. The five ensuing variations demonstrate his ability to recast the simple melody in many forms, from a pastoral scene with horn-calls to a tempestuous change to the minor. The Menuetto begins with a brusque Allegro vivace, far removed from the amicable minuet of his previous symphony. The Trio section lightens up by paring down to solo oboe and sparse string accompaniment; other instruments add embellishments to the delicate texture before the minuet comes tromping back. The Presto provides a suitable closure to the Symphony as a whole, with galloping melodies occasionally overcome by sudden, intense drama. Programme note © Linda Shaver-Gleason, c/o The Los Angeles Philharmonic.

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PROGRAMME NOTES THOMAS LARCHER BORN 1963

OUROBOROS FOR CELLO AND CHAMBER ORCHESTRA, 2015 – APPROX 20 MINS –

KRISTINA BLAUMANE CELLO CHAIR SUPPORTED BY BIANCA & STUART RODEN

1 ALLEGRO 2 ALLEGRO INFURIATO – 3 ADAGIO MA NON TROPPO ‘Has it struck you that I have clearly said my farewell as a composer?’ wrote Johannes Brahms, somewhat enigmatically, to his publisher Fritz Simrock in 1894. He was pointing to the fact that the melody of the last of the 49 German folk songs that he had collected earlier that year happened to be the same as the one he used 40 years previously in his Piano Sonata Op. 1, and was therefore ‘the snake that bites its tail – and thus states with pretty symbolism that the tale is finished’. The symbol of the snake eating its own tail has been known from the time of the Ancient Greeks as the Ouroboros, and it was through his reading of Brahms’s reference to it that Thomas Larcher was inspired to write the present work for solo cello, strings and percussion, which was first performed in February 2016 by cellist Jean-Guihen Queyras with the Amsterdam Sinfonietta under Candida Thompson. The soloist’s role is not as antagonist to the ensemble, but as guide through a magical landscape (the sound of the wind rushing through ‘the whispering of the

leaves’ at the start evokes place), inspiring different sorts of energy and reaction. Ideas of circularity inform both the local motivic and larger structural organisation of the piece. As the first movement progresses and generates momentum, we hear an accretion of material with a tendency to fold back on itself – slow descending scales, propulsive ostinati and so on. The second movement is a charged cadenza for the solo cellist with piano, leading straight into the reflective third movement which at its close finds itself back, with the wind again rustling the leaves, at the very start. Programme note © Marc Dooley Ouroboros was commissioned by Amsterdam Sinfonietta/Muziekgebouw aan ’t IJ (supported by the AMMODO Foundation), Swedish Chamber Orchestra, Lausanne Chamber Orchestra, Norwegian Chamber Orchestra, Munich Chamber Orchestra and Hong Kong Sinfonietta.

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LONDON PHILHARMONIC ORCHESTRA • 4 NOVEMBER 2020

COMPOSER PROFILE THOMAS LARCHER year, the Double Concerto for violin and cello was commissioned and premiered at the BBC Proms by Viktoria Mullova and Matthew Barley under the direction of Ilan Volkov, for which Larcher was awarded the International category of the 2012 British Music Awards.

In 2015 Larcher’s first symphony, Alle Tage for baritone and orchestra, was premiered by Matthias Goerne with Jaap van Zweden and the Netherlands Radio Orchestra at the Concertgebouw in Amsterdam. His most ambitious orchestral work to date, Symphony No. 2 (Kenotaph), followed a year later and was premiered by the Vienna Philharmonic Orchestra and Semyon Bychkov. Larcher’s most recent orchestral work, Chiasma (2017), written for the Leipzig Gewandhausorchester and Andris Nelsons, was premiered in spring 2018.

Thomas Larcher stands out as one of the most imaginative voices in classical music today. Born in Innsbruck in 1963, he grew up in Austrian Tyrol and studied composition and piano in Vienna. Today he is celebrated internationally as a composer, pianist and programmer. His music is inventive and captivating, as he combines contemplative harmonies with extended performance techniques – at once experimental and responsive to tradition. Larcher’s early works are characterised by his preoccupation with the piano and its tonal qualities. He established new benchmarks in piano literature with compositions such as Naunz for piano solo (1989), Kraken for violin, cello and piano (1994/5) and Mumien for cello and piano (2001). A series of string quartets – Cold Farmer (1999), Ixxu (1998–2004) and Madhares (2006/7) – continued his path of exploration, absorbing and crossing stylistic boundaries. Larcher began using the colourful timbres of the orchestra, starting with his solo concertos Still (2002) for viola and orchestra, Böse Zellen for piano and chamber orchestra (2006), and the Violin Concerto (2008) written for Isabelle Faust. The cello concerto Ouroboros (2016), written for Jean-Guihen Queyras and chamber orchestra, followed some years later. Larcher’s first large orchestral score, written for the San Francisco Symphony in 2011 and conducted by Osmo Vänskä, was Red and Green, a pair of movements with contrasting tonal colouring. Later that

Larcher’s skill in writing for the voice is evident in his highly original works including My Illness is the Medicine I Need (2002) for soprano and piano trio; Heute (2005) for soprano and orchestra; and Die Nacht der Verlorenen (2008) for Matthias Goerne and the London Sinfonietta. A Padmore Cycle, originally for tenor and prepared piano, was recomposed as an orchestral score with voice and was premiered by the BBC Symphony Orchestra under Edward Gardner in November 2014. Larcher’s first opera Das Jagdgewehr (The Hunting Gun) (2016–18) was commissioned by the Bregenz Festival, where the world premiere was presented in 2018 with Ensemble Modern conducted by Michel Boder and directed by Karl Markovics. The opera was co-produced by the Aldeburgh Festival, where it received its UK premiere in 2019 with Ryan Wigglesworth conducting the Knussen Chamber Orchestra. Larcher has been Composer-in-Residence at the Vienna Konzerthaus, the Mozarteum Orchester, Wigmore Hall, and many festivals. He was a featured composer with the BBC Symphony Orchestra in 2018/19 and Composer-in-Residence at the Amsterdam Concertgebouw in 2019/20.

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LONDON PHILHARMONIC ORCHESTRA • 4 NOVEMBER 2020

PROGRAMME NOTES MAX REGER 1873–1916

VARIATIONS AND FUGUE ON A THEME BY MOZART, OP. 132 1914 – APPROX 33 MINS –

THEME ANDANTE GRAZIOSO VARIATION 1 L’ISTESSO TEMPO, QUASI UN POCO PIÙ LENTO VARIATION 2 POCO AGITATO VARIATION 3 CON MOTO VARIATION 4 VIVACE VARIATION 5 QUASI PRESTO VARIATION 6 SOSTENUTO (QUASI ADAGIETTO) VARIATION 7 ANDANTE GRAZIOSO VARIATION 8 MOLTO SOSTENUTO FUGUE ALLEGRETTO GRAZIOSO

Max Reger owed his early musical leanings to the example and enthusiasm of his father, a schoolmaster and amateur musician, and his early training to the town organist of Weiden, Adalbert Lindner. Reger was born in 1873 at Brand in the Upper Palatinate, Bavaria. The following year the family moved to Weiden and it was here that he spent his childhood and adolescence, entering a course of teacher training, when he left school. Lindner had sent examples of Reger’s early work as a composer to Riemann, who accepted him as a pupil, initially in Sondershausen and then, as his assistant, in Wiesbaden. Military service, which affected Reger’s health and spirits, was followed by a period at home with his parents in Weiden and

a continuing series of compositions, in particular for the organ, including a monumental series of chorale fantasias and other compositions, often, it seems, designed to challenge the technique of his friend Karl Straube, a noted performer of Reger’s organ compositions. In 1901 Reger moved to Munich, where he spent the next six years. His position in musical life was not without difficulty, since he was seen as a champion of absolute music and as hostile at this time to programme music, to the legacy of Wagner and Liszt. He was, however, successful as a pianist and was gradually able to find an audience for his music.

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LONDON PHILHARMONIC ORCHESTRA • 4 NOVEMBER 2020

PROGRAMME NOTES the court orchestra, an ensemble established by Hans von Bulow and once conducted by Richard Strauss at the outset of his career. Reger held this position until the beginning of the First World War, when the orchestra was disbanded, an event that coincided with his own earlier intention to resign. He spent his final years based in Jena, but continuing his activities as a composer and as a concert performer. He died in Leipzig in May 1916 on his way back from a concert tour of the Netherlands. The well-known Variations and Fugue on a Theme of Mozart, Op. 132, are based on a theme from Mozart’s Piano Sonata in A major. The work was written in 1914 and first performed in Wiesbaden on 8 January the next year by the Kurorchester, conducted by the composer. He emphasised the absolute clarity of this music, an answer, he claimed, to the current musical anarchy, stressing that ‘Kunst kommt von Können’ (art comes from skill): his music was to be a landmark against the unnatural, quirkiness and eccentricity (Unnatur, Verschrobenheit und Verstiegenheit) of some of his contemporaries. The Variations were performed in the following month in Munich, Berlin, Heidelberg and Frankfurt am Main. The work was dedicated to the now disbanded Meininger Hofkapelle, the musicians of which Reger had done his best to assist.

‘REGER ... MUST IN MY VIEW BE DONE OFTEN; 1, BECAUSE HE HAS WRITTEN A LOT; 2, BECAUSE HE IS ALREADY DEAD AND PEOPLE ARE STILL NOT CLEAR ABOUT HIM.

(I CONSIDER HIM A GENIUS.) ARNOLD SCHOENBERG IN A LETTER TO ALEXANDER ZEMLINSKY, 1922

The period in Munich saw the composition of his Sinfonietta, of chamber music and of his important Variations and Fugue on a Theme of JS Bach for piano, and the Variations and Fugue on a Theme of Beethoven, the latter later orchestrated. In 1907 he took up an appointment as professor of composition at the University of Leipzig. His music now found a still wider international audience, supported by his own distinction as a performer, with concert appearances in London, St Petersburg, the Netherlands and Austria, and throughout Germany. The year 1911 brought an invitation from the Duke of Saxe-Meiningen to accept the position of conductor of

The variations treat the theme in a generally romantic idiom, with the first of the eight slightly slower, the second, in F major, with divided strings, in greater excitement and the third in A minor with a change of rhythm that continues in the fourth, E minor, variation. After the Quasi presto of the fifth variation, in A minor, the sixth, Sostenuto, quasi adagietto and in D major, allows triplet woodwind figuration to accompany violins and cellos. The seventh variation, in F major, has the theme in the first horn and cello parts, while the last, in E major, slows and quietens to introduce the remarkable fugue, in which Reger’s love of counterpoint and of chromaticism are evident. Here the first violin presents the fugal subject, followed by second violins, violas and first cellos and second cellos with double basses, before the woodwind entries. The fugue reaches a great climax over a tonic pedal-point provided by the timpani. Programme note by Keith Anderson

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LONDON PHILHARMONIC ORCHESTRA • 4 NOVEMBER 2020

MORE ONLINE CONCERTS THIS AUTUMN WEDNESDAY 11 NOVEMBER 2020

WEDNESDAY 9 DECEMBER 2020

Chevalier de Saint-Georges Overture, L’amant anonyme Beethoven Piano Concerto No. 4 Beethoven Ah! Perfido Beethoven Symphony No. 4

J S Bach Orchestral Suite No. 1 Elena Kats-Chernin Piano Concerto No. 3 (European premiere) Enescu Decet, Op. 14* Enescu Chamber Symphony*

Daniele Rustioni conductor Nicolas Namoradze piano Sophie Bevan soprano

Vladimir Jurowski conductor Tamara-Anna Cislowska piano

Concert generously supported by Mrs Aline Foriel-Destezet.

Concert supported by the *Generously supported by the Romanian Cultural Institute.

WEDNESDAY 25 NOVEMBER 2020 Penderecki Sinfonietta No. 1* Schubert Symphony No. 3 Lotta Wennäkoski Verdigris (London premiere) Sibelius Symphony No. 5 Hannu Lintu conductor *Please note change of work from originally advertised. 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 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.

WEDNESDAY 2 DECEMBER 2020 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

SATURDAY 5 DECEMBER 2020 Ravel Le tombeau de Couperin Schubert Symphony No. 6 Jonathan Dove Vadam et circuibo civitatem (a cappella) Prokofiev Piano Concerto No. 3

*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 Alexander Gavrylyuk piano London Philharmonic Choir

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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 • 4 NOVEMBER 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 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 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 • 4 NOVEMBER 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 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 • 4 NOVEMBER 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 • 4 NOVEMBER 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 – 22 –

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 • 4 NOVEMBER 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

GENERAL ADMINISTRATION

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

Alison Jones Concerts and Recordings Co-ordinator

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

Grace Ko Tours Manager

Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Damian Davis Transport Manager

Christina McNeill Corporate Relations Manager

LPO online concert programme: 4 November 2020 - Vivaldi, Schubert, Larcher & Reger

Articles inside

TONIGHT'S ARTISTS

TONIGHT'S ARTISTS

TONIGHT'S ARTISTS