London Philharmonic Orchestra 12 Oct 2016 concert programme by London Philharmonic Orchestra

MUSIC IS OUR WORLD. WE WANT TO SHARE ITS ASTONISHING POWER AND WONDER WITH YOU. Concert programme lpo.org.uk

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader pieter schoeman supported by Neil Westreich Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Wednesday 12 October 2016 | 7.30pm

Haydn Overture, The Apothecary (6’) Mozart Piano Concerto No. 24 in C minor, K491 (31’) Interval (20’) Mahler Symphony No. 4 in G (55’)

Vladimir Jurowski conductor Lucas Debargue piano Sofia Fomina soprano

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome LPO news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Lucas Debargue 8 Sofia Fomina 9 Programme notes 12 Mahler Symphony No. 4 text 13 Recommended recordings 14 Next concerts 15 New on the LPO Label 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall.

LPO news

Vladimir Jurowski: one of London’s most influential The LPO’s Principal Conductor and Artistic Advisor, Vladimir Jurowski, was recently named by the Evening Standard as one of 2016’s ‘Progress 1000’, recognising London’s 1000 most influential people. The jury praised Vladimir’s contribution to the city’s cultural scene, professing that ‘his articulately expressed views on music and other matters have won the principal conductor of the London Philharmonic a devoted following, as have his innovative programmes and highly individualised, sometimes idiosyncratic, approach to the classics, notably Mahler.’ Read the full list: standard.co.uk/news/the1000 This month’s LPO Label release: Wagner

If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

Just released on the LPO Label is Act 1 of Wagner’s opera Die Walküre, recorded in 1991 at Southbank Centre’s Royal Festival Hall (LPO-0092). This marks conductor Klaus Tennstedt’s 16th release on the label, and also features soloists Eva-Maria Bundschuh (Sieglinde), René Kollo (Siegmund) and John Tomlinson (Hunding). Priced £9.99, it is available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via iTunes, Spotify, Amazon and others. Ravi Shankar’s Sukanya: May 2017 In May 2017 the Orchestra will take part in the first performances of an opera by Indian music legend Ravi Shankar. Shankar was composing his pioneering opera Sukanya at the time of his death in 2012, and it explores the common ground between the music, dance and theatrical traditions of India and the West. Conductor and collaborator David Murphy – who worked with Shankar for many years, notably conducting the world premiere of his Symphony with the LPO in 2010 – completed the opera with help from Anoushka Shankar, Ravi Shankar’s daughter. The four performances will take place at Leicester’s Curve (world premiere, 12 May), The Lowry, Salford (14 May), Symphony Hall Birmingham (15 May) and London’s Southbank Centre (19 May). lpo.org.uk/sukanya Sukanya is a co-production between The Royal Opera, the London Philharmonic Orchestra and Curve, Leicester. The 19 May performance is a co-production between The Royal Opera, the London Philharmonic Orchestra and Curve, Leicester in association with Southbank Centre, with generous philanthropic support from Arts Council England and the Bagri Foundation.

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On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Liana Gourdjia Vesselin Gellev Sub-Leader Ilyoung Chae Chair supported by an anonymous donor

Catherine Craig Thomas Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Grace Lee Rebecca Shorrock Caroline Sharp Second Violins Andrew Storey Principal Helena Smart Jeongmin Kim Chair supported by Friends of the Orchestra

Tania Mazzetti Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Robin Wilson Harry Kerr Sheila Law

Violas Przemysław Pujanek Guest Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Alistair Scahill Daniel Cornford

Flutes Juliette Bausor Principal Sue Thomas*

Cellos Kristina Blaumane Principal

Oboes Ian Hardwick* Principal Alice Munday Sue Böhling*

Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Santiago Carvalho† Chair co-supported by Molly & David Borthwick

David Lale Gregory Walmsley Elisabeth Wiklander Chair supported by Drs Oliver & Asha Foster

Sue Sutherley Susanna Riddell Helen Rathbone Double Basses Kevin Rundell* Principal Sebastian Pennar Sub-Principal George Peniston Laurence Lovelle Damián Rubido González Thomas Walley Lowri Morgan

Horns David Pyatt* Principal Chair supported by Simon Robey

John Ryan* Principal

Chair supported by Victoria Robey OBE

Chair supported by Laurence Watt

Stewart McIlwham* Claire Childs

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Piccolos Stewart McIlwham* Principal Claire Childs

Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Toby Street Timpani Simon Carrington* Principal

Cor Anglais Sue Böhling* Principal

Percussion Andrew Barclay* Principal

Chair supported by Dr Barry Grimaldi

Chair supported by Andrew Davenport

Clarinets Timothy Lines Guest Principal Thomas Watmough Paul Richards

Henry Baldwin Co-Principal Keith Millar Jeremy Cornes Harp Rachel Masters Principal

E-flat Clarinet Thomas Watmough Principal

Assistant Conductor Kerem Hasan

Bass Clarinet Paul Richards Principal

* Holds a professorial appointment in London

Bassoons Jonathan Davies Principal Gareth Newman Simon Estell Contrabassoon Simon Estell Principal

† Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: William & Alex de Winton • Sonja Drexler • Eric Tomsett

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London Philharmonic Orchestra

So far, so miraculous, with the orchestra moving as one under its admired principal conductor’s meticulous guidance. The Arts Desk, BBC Proms July 2016

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record 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 currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2016 the LPO joined many of the UK’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400

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years since his death. In 2017 we will collaborate with Southbank Centre on Belief and Beyond Belief: a year-long multi-artform festival. Other 2016/17 season highlights include the return of Osmo Vänskä to conduct the Sibelius symphonies alongside major British concertos by Britten, Elgar, Walton and Vaughan Williams; Jurowski’s continuation of his Mahler and Brucker symphony cycles; landmark contemporary works by Steve Reich, Philip Glass, John Adams and Gavin Bryars; and premieres of new works by Aaron Jay Kernis and the Orchestra’s Composer in Residence Magnus Lindberg. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, 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: last season included visits to Mexico,

Pieter Schoeman leader

Spain, Germany, the Canary Islands and Russia; and tours in 2016/17 include New York, Germany, Austria, Hungary, Spain, France, Belgium, The Netherlands and Switzerland.

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. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/c/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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 90 releases available on CD and to download: recent additions include Bruckner’s Symphony No. 5 with veteran maestro Stanisław Skrowaczewski; a disc of Stravinsky works with Vladimir Jurowski; and Act 1 of Wagner’s Die Walküre with Klaus Tennstedt (see page 2).

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 he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently 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 Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

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Vladimir Jurowski conductor

Jurowski’s performances with the LPO these days really are unmissable.

The Times, March 2015

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. In October 2015 he was appointed the next Chief Conductor and Artistic Director of the Rundfunk-sinfonieorchester Berlin, a position he will take up in September 2017. Jurowski also maintains his position as Artistic Director of the State Academic Symphony Orchestra of Russia (Svetlanov Symphony Orchestra). He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin Philharmonic, New York Philharmonic and Rundfunk Sinfonieorchester Berlin; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

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His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra National de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Moses und Aron at Komische and Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. In 2015 he returned to the Komische Oper in Berlin for a universally acclaimed new production of Moses und Aron, and made his debut at the Bayerische Staatsoper in Munich with Prokofiev’s The Fiery Angel. Future highlights include his Salzburg Festival debut with Wozzeck, and his first return to Glyndebourne as a guest conductor, to lead the world premiere production of Brett Dean’s Hamlet. The Glyndebourne production of Wagner's Die Meistersinger von Nürnberg, led by Vladimir Jurowski with the London Philharmonic Orchestra and Glyndebourne Chorus, won the 2015 BBC Music Magazine Opera Award.

Watch a video of Vladimir discussing his highlights of the LPO 2016/17 season: lpo.org.uk/jurowski1617

Lucas Debargue piano

People are loving Lucas Debargue because he is a real musician. He loves music passionately and knows everything about it.

Boris Berezovsky, pianist

An introspective and insightful artist who draws inspiration from across disciplines including literature, painting, cinema and jazz, Lucas Debargue enjoys rediscovering rare music by composers like Nikolai Medtner, Samuel Maykapar and Nikolai Roslavets, and uses a self-cultivated and non-traditional artistic process to develop personal interpretations of a carefully selected repertoire. Supported by the National School of Music of Paris of Alfred Cortot and the Zaleski Foundation, Lucas won first prize at the 9th International Adilia Alieva Piano Competition in 2014, and fourth prize at the 15th Tchaikovsky International Competition in Moscow, where he was also the only contestant across all disciplines to earn the Moscow Music Critics’ award. Lucas began piano studies aged 11 at the Compiegne Conservatoire under Christine Muenier. He gave up formal studies at age 16, but always maintained an admiration for virtuoso repertoire. After three years completing his Bachelor of Science at Paris Diderot University, two of which he spent not touching a piano, he began studying at the Beauvais Conservatoire under Philippe Tamborini. There he met his current professor Rena Shereshevskaya at the Rueil-Malmaison Conservatoire, and this encounter became decisive to him. They subsequently prepared for the entrance examinations at the Conservatoire de Paris, where Lucas was admitted with unanimous approval to study with Professor Jean-François Heisser, and ultimately obtained his Bachelor’s degree in piano performance in 2015. Seeing in Lucas a future as a great interpreter, Professor Shereshevskaya admitted him into her class at the Cortot School to prepare him for grand international competitions.

Last season Lucas opened the Pianoscope Festival in Beauvais, France, and performed the Tchaikovsky Piano Concerto No. 1 with Valery Gergiev and the Mariinsky Orchestra at Symphony Hall Birmingham, Warsaw’s Folles Journées Festival, the Südtirol Classic Festival in Italy and the PyeongChang International Music Festival in Korea. He reprised the Tchaikovsky Concerto with the State Academic Symphony Orchestra of Russia and Vasily Petrenko, and played Rachmaninoff’s Piano Concerto No. 4 with the Mariinsky Orchestra in Beijing and the Tchaikovsky Symphony Orchestra under Vladimir Fedoseyev. Lucas was invited to give two recitals in the Grand and Small Halls of the Moscow House of Music, and the closing recital of the 2015 Stanislav Richter December Nights Festival at the Pushkin Museum. Last season he also gave recitals at Chicago’s Ravinia Festival, the Great Hall of the Moscow Conservatory, Toronto’s Koerner Hall, Paris’s Fondation Louis Vuitton, Mexico City’s Palacio de Bellas Artes for the Festival del Centro Histórico, Moscow’s Rostropovich Festival and the Roque-d’Anthéron Festival in France. Lucas continues to work with Rena Shereshevskaya at the Cortot School. He makes his home in Paris.

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Sofia Fomina soprano

A vocal discovery: Sofia Fomina’s Oscar was sung with a stunning silvery soprano sound; exhilaratingly beautiful, her voice floated over the large ensembles. Online Merker, March 2016

Rising star soprano Sofia Fomina made a sensational debut at the Royal Opera House, Covent Garden, in 2012 as Isabelle in Laurent Pelly’s new production of Meyerbeer’s Robert le diable. Shortly afterwards, she made debuts with the Bayerische Staatsoper and Zurich Opernhaus, and was nominated by German magazine Opernwelt as Newcomer of the Year, following her role debut as Gilda in Rigoletto.

No. 4 on tour in Ferrara, Bologna and Frankfurt with the Mahler Chamber Orchestra, Gerald Finley and Vladimir Jurowski.

Born in Russia, Sofia studied at the Orlovsky Music College and the Gnesin Academy of Music, Moscow. Her career began at the Novosibirsk Opera Theatre, where she sang roles including Despina in Così fan tutte and Susanna in The Marriage of Figaro. She later joined the ensemble of the State Theatre of Saarbrucken, where she sang roles including Queen of the Night in The Magic Flute, Giulietta in I Capuleti e i Montecchi, Zerbinetta in Ariadne auf Naxos, Rosina in The Barber of Seville and Gretel in Hansel und Gretel. From 2013–15 she was a member of Oper Frankfurt, where her engagements included Onoria in a new production of Gluck’s Ezio, Nanetta in a new production of Verdi’s Falstaff, Queen of the Night, Sophie in Werther, Blondchen in Die Entführung aus dem Serail, Zerbinetta in Ariadne auf Naxos and Musetta in La bohème.

Recent operatic successes include her debut at Opéra de Paris as Blondchen in Die Entführung aus dem Serail and Jemmy in Guillaume Tell at the Royal Opera House. Last season she appeared to great acclaim as Blondchen and as Oscar in a new production of Un ballo in Maschera at the Bayerische Staatsoper. She also sang Carmina Burana in a New Year Gala Concert with the Czech Philharmonic and Jakub Hrůša, and made her City of Birmingham Symphony Orchestra debut in a concert performance of Falstaff conducted by Edward Gardner.

On the concert platform she has performed with conductors including Vladimir Jurowski, Yuri Bashmet, Will Humburg, Georg Petrou, Konstantin Trinks, Konrad Junghänel, Rory Macdonald and Teodor Currentzis. In 2010 she received an invitation from Vladimir Jurowski to perform Janáček’s The Eternal Gospel with the London Philharmonic Orchestra at Royal Festival Hall. Her recent engagements include Marzelline in a concert version of Fidelio at the Concertgebouw Amsterdam and Mussorgsky’s The Nursery and Mahler’s Symphony

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A dedicated recitalist, Sofia has performed in Japan, Latvia and Germany. Her repertoire includes Lieder by Schubert, Mahler, Schumann, Mendelssohn, Berg, Rachmaninoff and Tchaikovsky.

In 2016/17 Sofia returns to the Royal Opera House to make her role debut as Olympia in Tales of Hoffmann, and makes company debuts with Théâtre du Capitole de Toulouse as Berthe in a new production of Meyerbeer’s seldom-performed opera Le Prophète; and with Theater an der Wien as Aquillo in a concert performance of Adriano in Siria. Sofia also makes her debut with the Orchestra dell’ Accademia Nazionale di Santa Cecilia in a New Year’s Gala performance of Die Fledermaus, and returns to the London Philharmonic Orchestra for Mahler’s Symphony No. 8 and Beethoven’s Fidelio. Following tonight’s concert, Sofia will give further performances of Mahler’s Symphony No. 4 with the LPO and Vladimir Jurowski in Madrid, Valencia, Alicante, Dresden and New York.

Programme notes

Speedread Mahler’s last word was ‘Mozart’, and the Fourth Symphony his most Mozartian composition. Transparently scored, for a (relatively) small orchestra, it not only mimics Mozart’s courtly rococo grace in its first theme, it also echoes his ability to be sweetly childlike and somehow poignantly knowing at the same time. A soprano soloist joins the orchestra in the finale to evoke a child’s idea of Heaven: but is it all innocent happiness, or is there also the adult’s sadder, wiser realisation that such things cannot be? Before this we hear one of Mozart’s least innocent masterpieces: his turbulent, shadowy Piano Concerto

Joseph Haydn

in C minor, K491. Romantics from Beethoven to Mahler loved this Concerto for its poignant lyricism and urgent drama, but there is ambiguity here too – is the ending dance, lament or, mysteriously, both? But before we hear Mozart, and discover what Mahler learned from him, we hear a composer whom Mozart revered and studied intently, Joseph Haydn. Haydn certainly had his depths, but the Overture to Lo speziale (‘The Apothecary’) shows him at his most ebullient and infectiously cheerful. Few composers could do happiness like Haydn!

Overture, The Apothecary (1768)

1732–1809

Today Haydn is valued most of all for his choral works, symphonies, string quartets and piano sonatas, but he is also known to have completed 20 operas, of which 15 have survived. Some, like the energetically comic Lo speziale, were highly successful in their day – audience and critics were enthusiastic at the opera’s premiere in 1768. We know that Mozart was influenced by Haydn’s instrumental music, so is it possible that he either heard or saw the score of Lo speziale? If so, perhaps he remembered the opening aria, in which the apothecary’s apprentice grumbles about his job, when he created the brilliant curtain-raising aria for the servant Leporello in his own Don Giovanni. (Both arias make use of the same tiny musical motif.) Lo speziale also features a so-called ‘trouser role’ – a woman playing the part of a boy, like Cherubino in The Marriage of Figaro.

The Overture could almost be the first movement of one of Haydn’s bright and breezy middle-period symphonies – up to a point. But just when it seems the music is poised for a dramatic return of its first theme (as one would expect in a well-behaved 18th-century symphony), there’s a pause, the tempo slows, and a more thoughtful theme in three-time unfolds for a while. This too pauses, then comes the briefest possible return of the fast opening material. Even before the curtain has risen, Haydn has set the scene with masterly concision.

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Programme notes continued

Wolfgang Amadeus Mozart 1756–91

For many, K491 is simply Mozart’s greatest piano concerto. Changes in fashion seem to have made little difference to its status. The Romantics loved it for its Beethovenian passion and dark introspection. In the 20th century, modernists eagerly pointed out its subtle ambiguities and the nervous harmonic instability of some of its ideas. More recently there has been a tendency to praise the way Mozart embodies the passionate drama of early romanticism without losing his peerless sense of formal balance. But for performers and musicologists, K491 is also the concerto that causes the most headaches. If, as seems very likely, Mozart gave the first performance of the newly completed Concerto in the Vienna Burgtheater in April 1786, he would have done so from a manuscript that was far from complete and full of puzzles. Page after page of the manuscript betrays signs of being written under immense pressure. Worst of all, Mozart left no indications as to how to play the solo cadenzas, which he would have improvised in that Vienna concert. If Mozart had performed the Concerto again he would almost certainly have filled in the gaps and corrected the mistakes, but it seems the opportunity never arose.

Piano Concerto No. 24 in C minor, K491 (1786) Lucas Debargue piano 1 Allegro 2 Larghetto 3 Allegretto

enters, it does so quietly, with a melody of great lyrical sadness. As the movement progresses the sense of fateful dramatic momentum increases until the piano’s climactic cadenza – we know it was meant to be a climax, even though Mozart left few clues as to how to achieve it. Eventually the orchestra sweeps back in, but in the closing pages – unusually for the time – the piano rejoins the orchestra with rippling figurations, bringing the movement to a magically hushed close. At first the central Larghetto seems a haven of peace, but as the woodwind turn the music back to the first movement’s dark C minor, the mood turns melancholy with just a hint of nervous agitation. Woodwind interludes, leading to dialogues with the piano, are a striking feature of this movement. The finale is a set of variations on another dark-toned, nervously inflected theme. After another climactic cadenza, the tempo changes to a lilting 6/8, growing increasingly waltz-like as the orchestra enters. But the mood remains poised on a knife-edge – is it a dance, a lament, or somehow, exquisitely, both? At a performance in 1799, Beethoven turned to a friend at this point and exclaimed, ‘We shall never be able to do anything like that!’

Such riddles and uncertainties however only add to the C minor Concerto’s shadowy mystique. The opening is a long way from the confident, ceremonial style of the next piano concerto, K503. Sombre strings and bassoons outline a theme that probes nervously before exploding on full orchestra. When the piano

Interval – 20 minutes An announcement will be made five minutes before the end of the interval.

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Gustav Mahler 1860–1911

When Mahler began work on his Fourth Symphony in 1899 he was thinking in terms of a ‘humoresque’ – a light, cheerful work, in strong contrast to the hugely ambitious Second and Third Symphonies. But it seems the muse had other ideas. ‘To my astonishment’, he wrote to a friend, ‘it became plain to me that I had entered a totally different realm ... This time it is a forest with all its mysteries and its horrors which forces my hand and weaves itself into my work.’ This may surprise some listeners. At first sight the Fourth appears Mahler’s happiest and least complicated symphony: an idyllic picture of infant happiness, culminating in a child’s vision of Heaven. But Mahler knew only too well that childhood has its darker side. There is cruelty in the text Mahler sets in his finale, Das himmlische Leben (‘Heavenly Life’): ‘We lead a patient, guiltless, darling lambkin to death’, the child tells us contentedly; ‘Saint Luke is slaying the oxen.’ Earlier we glimpse ‘the butcher Herod’, responsible for the Massacre of the Innocents in the Biblical Christmas story. What are characters like these doing in Heaven? In fact Mahler wrote his fascinatingly ambiguous song-finale some time before he began work on the preceding three movements – so although it comes last, it is really the starting point for the whole Symphony. It was one of several settings of poems from the classic German folk collection Des Knaben Wunderhorn (‘The Boy’s Magic Horn’) Mahler had composed in the 1890s. Yet in the Fourth Symphony the three purely orchestral movements prepare the way for the closing vision of the song-finale on every possible level: its themes, orchestral colours, tonal scheme, and most of all its masked emotional complexity.

Symphony No. 4 in G (1899–1900) Sofia Fomina soprano 1 2 3 4

Bedächtig. Nicht eilen [Deliberate. Don’t hurry] – Recht gemächlich [Very leisurely] In gemächlicher Bewegung. Ohne Hast [At a leisurely pace. Without haste] Ruhevoll [Restful] Sehr behaglich [Very cosy]

The very opening of the Fourth Symphony is a foretaste of the finale. Woodwind and sleigh-bells set off at a slow jog-trot, then a languid rising violin phrase turns out to be the beginning of a disarmingly simple tune: Mahler in Mozartian peruke and frills. A warmly yearning second theme (cellos) soon subsides into the most childlike idea so far (solo oboe and bassoon). Soon another tune is introduced by four flutes in unison – panpipes, or perhaps whistling boys. After this the ‘mysteries and horrors’ rise to the surface, until horns, trumpets, bells and glittering high woodwind burst into a joyous medley of themes from earlier on. A dissonance, underlined by gong and bass drum, then trumpets sound out the fanfare rhythm Mahler later used to begin the sinister Funeral March in his Fifth Symphony. Suddenly the music stops, and the Mozartian theme starts again in mid-phrase, as though nothing had happened. All the main themes now return, leading to a brief, boisterous coda. The second movement, a Scherzo with two contrasting trio sections, proceeds at a leisurely pace (really fast music is rare in this Symphony). Mahler described the first theme as a portrait of ‘Freund Hain’ (‘Friend Hain’), a Pied Piper-like figure from German folklore whose fiddle playing beguiles its hearers into the land of ‘Beyond’ – death in disguise? The beguiling but sinister fiddler is evoked by the orchestral leader playing a violin tuned a tone higher than normal, sounding both coarser and – literally – more highly strung. There are cosier moments, though the final shrill high forte leaves a faintly sulphurous aftertaste.

Continued overleaf

London Philharmonic Orchestra | 11

Programme notes continued and text

According to Mahler the gorgeous string theme that opens the slow movement was inspired by ‘a vision of a tombstone on which was carved an image of the departed, with folded arms, in eternal sleep’ – an image half consoling, half achingly sad. A set of free variations develops this ambiguity, culminating in a full orchestral outburst of pure joy in E major – the key in which the finale is to end. Then the slow movement slips back into peaceful sleep. Now the soprano soloist enters for the first time to open the finale. Mahler adds a note in the score: ‘To be sung in a happy childlike

manner: absolutely without parody!’ At the mention of St Peter, the writing becomes hymn-like, then come the troubling images of slaughter. The singer seems unmoved by what she relates, but plaintive, animallike cries from oboe and low horn create a momentary frisson. The movement makes its final turn to E major to the words, ‘No music on earth can be compared to ours’. Then the child sings no more, and the music gradually fades until nothing is left but the deep bell-like tones of the harp. Programme notes © Stephen Johnson

Wir geniessen die himmlischen Freuden, D’rum tun wir das irdische meiden. Kein weltlich Getümmel Hört man nicht im Himmel! Lebt Alles in sanftester Ruh’!

We enjoy the heavenly pleasures, So we do avoid the earthly ones. No worldly commotion Is heard in heaven! All live in gentlest peace!

Wir führen ein englisches Leben! Sind dennoch ganz lustig daneben! Wir tanzen und springen, Wir hüpfen und singen! Sankt Peter in Himmel sieht zu!

We lead an angelic life! Yet we’re quite merry besides! We dance and jump, We hop and sing! St Peter in heaven looks on.

Johannes das Lämmlein auslasset, Der Metzger Herodes drauf passet! Wir führen ein geduldig’s, Unschuldig’s, geduldig’s, Ein liebliches Lämmlein zu Tod!

St John lets out the lambkin, The butcher Herod awaits it! We lead a patient, Innocent, patient, Dear little lamb to death!

Sankt Lucas den Ochsen tät schlachten Ohn’ einig’s Bedenken und Achten, Der Wein kost kein Heller Im himmlischen Keller, Die Englein, die backen das Brot.

St Luke slaughters the oxen Without any scruple or care, The wine costs not a penny In the heavenly cellar, The angels bake the bread.

Gut’ Kräuter von allerhand Arten, Die wachsen im himmlischen Garten! Gut’ Spargel, Fisolen Und was wir nur wollen! Ganze Schüsseln voll sind uns bereit! Gut’ Apfel, gut’Birn’ und gut’ Trauben,

Good plants of every kind Grow in the heavenly garden! Good asparagus, beans And whatever we want! Whole platefuls are prepared for us! Good apples, good pears and good grapes,

12 | London Philharmonic Orchestra

Die Gärtner, die Alles erlauben! Willst Rehbock, willst Hasen? Auf offener Strassen Sie laufen herbei!

The gardeners allow us them all! Do you want roebuck, want hares? On the open streets They are running about!

Sollt ein Festtag etwa kommen, Alle Fische gleich mit Freuden angeschwommen! Dort läuft schon Sankt Peter Mit Netz und mit Köder Zum himmlischen Weiher hinein. Sankt Martha die Köchin muss sein!

Should a feast-day be approaching, All fish alike come joyfully swimming! There already St Peter is running With net and bait To the heavenly pond. St Martha has to be cook!

Kein Musik ist ja nicht auf Erden Die unsrer verglichen kann werden. Elftausend Jungfrauen Zu tanzen sich trauen! Sankt Ursula selbst dazu lacht!

There is no music on earth That can be compared to ours. Eleven thousand maidens Make bold to dance! Even St Ursula laughs!

Cäcilia mit ihren Verwandten Sind treffliche Hofmusikanten! Die englischen Stimmen Ermuntern die Sinnen! Dass alles für Freuden erwacht.

Cecilia and her relations Are excellent court musicians! The angelic voices Arouse the senses! So all things awake for joy. English translation © Eric Mason

Recommended recordings of tonight’s works Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. Haydn: The Apothecary Liszt Ferenc Chamber Orchestra | György Lehel (Hungaroton) Mozart: Piano Concerto No. 24 Daniel Barenboim | English Chamber Orchestra (Classics for Pleasure) or Alfred Brendel | Scottish Chamber Orchestra | Sir Charles Mackerras (Philips) Mahler: Symphony No. 4 Klaus Tennstedt | London Philharmonic Orchestra (Warner) or Jascha Horenstein | London Philharmonic Orchestra (Classics for Pleasure) or Franz Welser-Möst | London Philharmonic Orchestra (EMI)

London Philharmonic Orchestra | 13

Next concerts at Southbank Centre’s Royal Festival Hall saturday 15 October 2016 7.30pm

WEDNESDAY 19 October 2016 7.30pm

Stravinsky Symphonies of Wind Instruments (1947 version) Stravinsky Variations (Aldous Huxley in Memoriam) Zimmermann Violin Concerto Henze Symphony No. 7

Sibelius Karelia Suite Britten Violin Concerto Sibelius Symphony No. 1

Vladimir Jurowski conductor Thomas Zehetmair violin

Free pre-concert event | 6:15pm Gramophone critic and Henze biographer Guy Rickards looks at Henze’s importance as a 20th-century symphonist.

sibelius symphony cycle

Osmo Vänskä conductor Simone Lamsma violin

friday 21 October 2016 7.30pm

jti friday SERIES · sibelius symphony cycle Sibelius Symphony No. 3 Vaughan Williams The Lark Ascending Sibelius Symphony No. 2 Osmo Vänskä conductor Yu-Chien Tseng violin

Book now lpo.org.uk 020 7840 4242 14 | London Philharmonic Orchestra

Jurowski conducts Stravinsky: new on the LPO Label Petrushka: burlesque in four scenes (1911 version) Symphonies of Wind Instruments (original 1920 version) Orpheus: ballet in three scenes Vladimir Jurowski conductor London Philharmonic Orchestra £9.99 | LPO-0091

‘This is very careful, very exquisitely balanced playing.’ BBC Radio 3 Record Review, 13 August 2016

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Download or stream online via iTunes, Spotify, Amazon and others

LPO CD Subscription Packages – the perfect gift Treat yourself or someone you know to a subscription to the London Philharmonic Orchestra's CD releases and receive all the new releases on the LPO label for a whole year, mailed before the CDs are available in the shops. The perfect birthday or Christmas gift for a music lover! Available online at lpo.org.uk/recordings or from the LPO Ticket Office (020 7840 4242)

One-year CD subscription: £79.99 10 CDs (worth at least £100) Exclusive pre-release mailing Inclusive of P&P

Half-year CD subscription: £44.99 5 CDs (worth at least £50) Exclusive pre-release mailing Inclusive of P&P

London Philharmonic Orchestra | 15

INTERNATIONAL

Great solo perfor mers from around the world at Southbank Centre

PIANO

Concerts at Royal Festival Hall and St John’s Smith Square

SERIES 2016 /17 Federico Colli

Louis Schwizgebel

Danny Driver

Pierre-Laurent Aimard & Tamara Stefanovich

Thu 20 Oct 2016 Mozart, Beethoven, Schumann and Mussorgsky Thu 3 Nov 2016 Bach, Schumann, Balakirev, Rachmaninov and Prokofiev

Ingolf Wunder Sat 19 Nov 2016 Schubert, Mozart and Chopin

Fri 2 Dec 2016 Mozart, Schumann, Beethoven and Schubert

Tue 24 Jan 2017 Brahms and Messiaen

Mitsuko Uchida

Tue 31 Jan 2017 Mozart and Schumann

Maurizio Pollini

Yuja Wang

Boris Berezovsky

Alexander Gavrylyuk

Tue 21 Feb 2017 Debussy and Chopin

Tue 11 Apr 2017 Beethoven

Tue 28 Feb 2017 Programme to be announced

Maurizio Pollini Tue14 Mar 2017 Beethoven

Richard Goode

Yulianna Avdeeva Wed 29 Mar 2017 Beethoven and Liszt

Wed 3 May 2017 Bach, Haydn, Chopin, Prokofiev, Rachmaninov, Balakirev. Wed 31 May 2017 Beethoven

020 7960 4200 southbankcentre.co.uk/ips

MUSIC IS OUR WORLD.

Student & Under 26 NOISE Scheme at Southbank Centre’s Royal Festival Hall

Students receive best available seats for just £4 plus FREE post-concert drinks at selected concerts throughout the year. Sign up online at lpo.org.uk/noise The London Philharmonic Orchestra’s NOISE programme is supported by the Orchestra’s Principal Beer Sponsor, Heineken.

16 | London Philharmonic Orchestra

‘Listening to the @LPOrchestra is one of the best things to do in life’

‘@LPOrchestra

bring it on!’

‘London concert-goers are lucky to have concerts as creative as this’ - Financial Times

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno de Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin Robert Markwick & Kasia Robinski The Rind Foundation The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Lady Marina Vaizey Jenny Watson Guy & Utti Whittaker 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 Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra | 17

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 An anonymous donor Victoria Robey OBE Orchestra Circle Natalia Semenova & Dimitri Gourji The Tsukanov Family Principal Associates An anonymous donor Mr Peter Cullum CBE Dr Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Neil Westreich Associates Simon Robey Stuart & Bianca Roden Barry Grimaldi William & Alex de Winton Gold Patrons An anonymous donor Mrs Evzen Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Georgy Djaparidze Sonja Drexler Mrs Gillian Fane Drs Oliver & Asha Foster Simon & Meg Freakley David & Victoria Graham Fuller Wim & Jackie Hautekiet-Clare The Jeniffer & Jonathan Harris Charitable Trust Alexandra Jupin & John Bean James R D Korner Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Laurence Watt Michael & Ruth West

Silver Patrons Mrs Molly Borthwick Peter & Fiona Espenhahn David Goldstone CBE LLB FRICS Rehmet Kassim-Lakha de Morixe John & Angela Kessler Vadim & Natalia Levin Mrs Virginia Slaymaker Mr Brian Smith The Viney Family Guy & Utti Whittaker Bronze Patrons Valentina & Dmitry Aksenov Dr Christopher Aldren Michael Allen Mr Jeremy Bull Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel David Ellen Mrs Marie-Laure Favre-Gilly de Varennes de Bueil Igor & Lyuba Galkin Mrs Irina Gofman Mr Daniel Goldstein Mr Gavin Graham Mrs Dorothy Hambleton Mr Martin Hattrell Mr Colm Kelleher Drs Frank & Gek Lim Mrs Angela Lynch Peter MacDonald Eggers William & Catherine MacDougall Mr & Mrs David Malpas Mr Adrian Mee Mrs Elizabeth Meshkvicheva Mrs Rosemarie Pardington Ms Olga Pavlova Mr Michael Posen Mrs Karmen Pretel-Martines Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr & Mrs G Stein Sergei & Elena Sudakova Captain Mark Edward Tennant Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Grenville & Krysia Williams

18 | London Philharmonic Orchestra

Christopher Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Mr Geoffrey Bateman Mrs A Beare Mr Charles Bott Mr Graham Brady Mr Gary Brass Mr Richard Brass Mr Frederick Brittenden David & Patricia Buck Dr Anthony Buckland Sir Terry Burns GCB Richard Buxton Mr Pascal Cagni Mrs Alan Carrington Dr Archibald E Carter The Countess June Chichester Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Alfons Cortés Mr David Edwards Ulrike & Benno Engelmann Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Roger Greenwood Mr Chris Grigg Malcolm Herring Amanda Hill & Daniel Heaf J Douglas Home Ivan Hurry Mr Glenn Hurstfield Mr Peter Jenkins Per Jonsson Mr Frank Krikhaar Rose & Dudley Leigh Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Nicholas Lyons Mr Peter Mace Robert Markwick & Kasia Robinski Elena Mezentseva Andrew T Mills Dr Karen Morton Mr & Mrs Andrew Neill

Maestro Yannick Nézet-Séguin Pavel & Elena Novoselov Dr Wiebke Pekrull Mr Roger Phillimore Mr James Pickford Andrew & Sarah Poppleton Oleg Pukhov Miss Tatiana Pyatigorskaya Martin & Cheryl Southgate Peter Tausig Mr Jonathan Townley Andrew & Roanna Tusa Lady Marina Vaizey Howard & Sheelagh Watson Des & Maggie Whitelock Bill Yoe Supporters Mr Clifford Brown Miss Siobhan Cervin Miss Lynn Chapman Mr Joshua Coger Mr Geoffrey A Collens Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Ms Holly Dunlap Ms Susanne Feldthusen Mrs Janet Flynn Mr Nick Garland Mr Derek B. Gray Dr Geoffrey Guy The Jackman Family Mrs Svetlana Kashinskaya Niels Kroninger Mrs Nino Kuparadze Mr Christopher Langridge Alison Clarke & Leo Pilkington Miss S M Longson Mr David Macfarlane Mr John Meloy Miss Lucyna Mozyrko Mr Leonid Ogarev Mr Stephen Olton Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr James A Reece Mr Olivier Rosenfeld Mr Robert Ross

Mr Kenneth Shaw Mr Barry Smith Ms Natalie Spraggon James & Virginia Turnball Michael & Katie Urmston Timothy Walker AM Mr Berent Wallendahl Edward & Catherine Williams Mr C D Yates

Corporate Donors Fenchurch Advisory Partners LLP Goldman Sachs Linklaters London Stock Exchange Group Morgan Lewis Phillips Auction House Pictet Bank Corporate Members

Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE 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: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna Natalie Pray Robert Watson Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Gold Sunshine Silver Accenture After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze BTO Management Consulting AG Charles Russell Speechlys Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations Axis Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation The Goldsmiths’ Company Lucille Graham Trust Help Musicians UK Derek Hill Foundation John Horniman’s Children’s Trust The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw Foundation The Michael Tippett Musical Foundation UK Friends of the FelixMendelssohn-BartholdyFoundation

Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

London Philharmonic Orchestra | 19

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Roger Barron Richard Brass Desmond Cecil CMG Dr Catherine C. Høgel Rachel Masters* Al MacCuish Julian Metherell George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Victoria Robey OBE Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson Bruno de Kegel William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager