London Philharmonic Orchestra 16 Dec 2017 concert programme by London Philharmonic Orchestra

b e m ov e d 2017/18 Season at Southbank Centreâ&#x20AC;&#x2122;s Royal Festival Hall Concert programme

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 Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 16 December 2017 | 7.00pm

J S Bach Christmas Oratorio, BWV248 There will be a 20-minute interval between Parts 3 and 4. Tonight’s concert will end at approximately 10.15pm.

Vladimir Jurowski conductor Maria Keohane soprano Anke Vondung mezzo-soprano Jeremy Ovenden tenor* Stephan Loges bass-baritone London Philharmonic Choir Artistic Director: Neville Creed * Please note a change to the artist from previously advertised.

Tonight’s concert is dedicated to the memory of conductor Victor de Sabata, in honour of the 50th anniversary of his death.

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

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Kevin Lin 6 Vladimir Jurowski 7 Tonight’s soloists 9 London Philharmonic Choir 10 Programme notes 14 Recommended recording 15 LPO 2017/18 Annual Appeal 16 Next concerts 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. 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 3879 9555, 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.

Orchestra news

onight’s concert , our last of 2017 at Royal Festival Hall, is dedicated to the memory of Italian conductor and composer Victor de Sabata (1892–1967), in honour of the 50th anniversary of his death. Praised by various authors and critics as a rival to Arturo Toscanini for the title of greatest Italian conductor of the 20th century, de Sabata was Musical Director of La Scala, Milan, from 1929–53, as well as being its Artistic Director from 1949–63. He first conducted the London Philharmonic Orchestra in spring 1946 and began his first rehearsal by taking the players straight through Berlioz’s Roman Carnival Overture, receiving an almost unique tribute: a standing ovation from the Orchestra. He was invited to return numerous times during the 1940s and 1950s, conducting a Beethoven symphony cycle at the Royal Albert Hall and making several recordings with the Orchestra including Beethoven’s ‘Eroica’ Symphony and Sibelius’s En Saga for Decca. A former LPO leader compared de Sabata with Sir Thomas Beecham, saying that while Beecham made the orchestra ‘red-hot, de Sabata made it white-hot’. LPO double bassist Robert Meyer, who played under many leading conductors including Furtwängler, Karajan, Klemperer, Giulini, Walter, Koussevitzky and Stokowski, described de Sabata as ‘undoubtedly the finest conductor I have ever encountered’. We are delighted to pay tribute to his memory this evening.

Christmas gifts from the LPO Stuck for a last-minute present idea for the music lover in your life? The London Philharmonic Orchestra has a fantastic range of gifts on offer. How about ... • A year’s membership of our Friends or Contemporaries scheme • An annual CD subscription with a brand new release delivered directly to the recipient each month • LPO gift vouchers (available for any amount from £1) that are valid for a year and can be used to buy LPO concert tickets or CDs Browse the full selection at lpo.org.uk/gifts or call the LPO Ticket Office on 020 7840 4242.

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On stage tonight

First Violins Kevin Lin Leader JiJi Lee Martin Höhmann Thomas Eisner Robert Pool Sarah Streatfeild Second Violins Tania Mazzetti Principal Ashley Stevens Nynke Hijlkema Nancy Elan Marie-Anne Mairesse Violas David Quiggle Principal Robert Duncan Gregory Aronovich Laura Vallejo Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal George Peniston Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

Oboes David Thomas Guest Principal Jane Marshall Cors Anglais Jane Marshall David Thomas Oboes D’Amore Ian Hardwick Alice Munday Bassoon Jonathan Davies Principal

Pei-Jee Ng Co-Principal Francis Bucknall Elisabeth Wiklander

Horns David Pyatt Principal

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert:

Chair supported by Sir Simon Robey

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

David Hilton Timpani Simon Carrington Principal Chamber Organ Bernard Robertson Assistant Conductor Kati Debretzeni Surtitles Kenneth Chalmers

David & Yi Buckley The Candide Trust Andrew Davenport William & Alex de Winton Sonja Drexler Friends of the Orchestra Dr Barry Grimaldi Caroline, Jamie & Zander Sharp Laurence Watt Neil Westreich

* Holds a professorial appointment in London

Das Rheingold: A Golden Gala Evening Saturday 27 January 2018 | 6.00pm Royal Festival Hall

Wagner Das Rheingold Vladimir Jurowski conductor with soloists including Sofia Fomina, Anna Larsson, Matthias Goerne and Matthew Rose

lpo.org.uk/vj10 Generously supported by members of the Orchestra’s Ring Cycle Syndicate and patrons of our Golden Gala Evening.

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The LPO musicians really surpassed themselves in playing of élan, subtlety and virtuosity. Matthew Rye, Bachtrack, 24 September 2017 (Enescu’s Oedipe at Royal Festival Hall) 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. Celebrating its 85th anniversary this season, the Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and this season we celebrate the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Our year-long Belief and Beyond Belief festival in partnership with Southbank Centre

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continues to the end of 2017, exploring what it means to be human in the 21st century. Then, in 2018, we explore the life and music of Stravinsky in our new series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. 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: the 2016/17 season included visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland, and tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France.

Kevin Lin leader

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include Beethoven’s Symphonies Nos. 1 and 4 conducted by Kurt Masur; Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; and Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski. 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. In 2017/18 we celebrate the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. 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 and social media 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.

Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, Kevin has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Houston Symphony and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster and Principal Second Violin at The Colburn School and The Curtis Institute of Music. An avid chamber musician, Kevin has collaborated with the Tokyo and Ebène quartets, Edgar Meyer, MengChieh Liu, John Perry, Hal Robinson of The Philadelphia Orchestra and Andrew Bain of the Los Angeles Philharmonic. In recent years he has received prizes from the Irving M. Klein International Competition and the Schmidbauer International Competition, and competed in the George Enescu International Violin Competition and the Menuhin International Violin Competition. Kevin spent his early years studying with Patinka Kopec in New York, before going on to study with Robert Lipsett at The Colburn School in Los Angeles, where he received his Bachelor of Music degree. He then continued his studies at The Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.

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Vladimir Jurowski conductor

As Jurowski prepares to mark 10 years with the LPO, the understanding between them seems in great shape.

Martin Kettle, The Guardian, 29 January 2017

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. In January 2018 we celebrate the tenth anniversary of this extraordinary partnership with a semi-staged gala performance of Wagner’s Das Rheingold (see page 3). 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. Earlier this year Vladimir took up the position of Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra and Artistic Director of the George Enescu International Festival, Bucharest. 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). Vladimir is a regular guest with many leading orchestras in both Europe and North America, including the Royal Concertgebouw Orchestra; the Accademia Nazionale di Santa Cecilia, Rome; the New York Philharmonic; The Philadelphia Orchestra;

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The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the TonhalleOrchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe. 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; Salome with the State Academic Symphony of Russia; Moses und Aron at the Komische Oper Berlin; 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 2017 he made an acclaimed Salzburg Festival debut with Wozzeck and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the LPO. The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; and Rachmaninoff’s Symphony No. 3 and Symphonic Dances. Autumn 2017 saw the release of a sevendisc set of Tchaikovsky’s complete symphonies under Jurowski (LPO-0101), and a special anniversary sevendisc set of his previously unreleased recordings with the LPO spanning the symphonic, choral and contemporary genres (LPO-1010). Visit lpo.org.uk/recordings to find out more.

Anke Vondung

soprano

mezzo-soprano

Swedish soprano Maria Keohane has a repertoire that covers a wide range of musical styles from baroque to contemporary, including opera, chamber music and oratorios. Her opera roles include Pamina, Susanna and Armida (Handel); Tebaldo (Verdi); Melanto and Giunóne (Monteverdi); and Proserpina/L’altra Ninfa (Peri), at theatres such as the Drottningholm Palace Theatre in Stockholm and the Royal Danish Theatre in Copenhagen. Together with renowned ensembles such as the European Union Baroque Orchestra, the Scottish Chamber Orchestra, the Netherlands Bach Society, Concerto Copenhagen and the Ricercar Consort, Maria performs regularly at venues and festivals including Edinburgh International Festival, Tanglewood Festival, the Händel-Festspiele Halle, the Ambronay Festival, the Internationale Händel-Festspiele Göttingen, Bozar in Brussels, the Concertgebouw in Amsterdam, the Vienna Konzerthaus and Gothenburg Concert Hall. She is in great demand as a concert and oratorio soloist and has performed with well-known conductors such as Philippe Pierlot, Michael Schönwandt, Tobias Ringborg, Eric Ericson, Martin Gester, Roy Goodman, Gustav Leonhardt, Jakob Lindberg, Andrew Manze, Nicholas McGegan, Andrew Parrott, Stephen Stubbs, Jos van Veldhoven, Arnold Östman and Lars-Ulrik Mortensen. Maria is featured on many CD recordings and in 2014 participated in an enormous ‘All of Bach’ project with the Netherlands Bach Society. Her recording triumphs include excellent reviews for the CD Pure Handel with the European Union Baroque Orchestra, as well as Weckmann’s Conjuration with the Ricercar Consort, which also received the 2013 German Radio Critics’ Award. At the International Van Wassenaer Concourse in 2000 Maria received an award as the most promising individual musician, and she has been honoured several times by the Royal Swedish Academy of Music. In 2005 she received the Reumert Prize for the role of Armida in Handel’s Rinaldo.

Maria Keohane

Born in Speyer, Germany, Anke Vondung began piano lessons at the age of eight. She later studied singing with Professor Rudolf Piernay at the Musikhochschule Mannheim. In 1995 she made her operatic debut at the Opernschule Mannheim as Nancy in Britten’s Albert Herring. Anke Vondung was a member of the Tiroler Landestheater Innsbruck in Austria until the end of the 2001/02 season. From 2003–06 she was a member of the Semperoper Dresden, where she is now a guest artist. She made her debut at Glyndebourne Festival Opera in 2006 as Dorabella in Mozart’s Così fan tutte, with the Orchestra of the Age of Enlightenment under Iván Fischer. In the 2014/15 season Anke sang several roles at the Semperoper Dresden including Carmen and Rosina (The Barber of Seville) and at the Theater an der Wien in Vienna. In summer 2014 she appeared at the Bregenzer Festpiele in Austria. During the 2015/16 season she returned again to the Semperoper Dresden, as well as performing at several international festivals. Tonight’s performance of Bach’s Christmas Oratorio is Anke’s debut with the London Philharmonic Orchestra. Later this month she will return to Dresden to sing Olga in Tchaikovsky’s Eugene Onegin under Omer Meir Wellber, and in 2018 will return once again as Zerlina in Mozart’s Don Giovanni under Jonathan Darlington. Anke has received numerous invitations to appear with prestigious orchestras in Europe and the Americas, with distinguished conductors such as Vladimir Jurowski, James Conlon, Edo de Waart, Philippe Herreweghe, James Levine, Marc Albrecht, Manfred Honeck, Markus Stenz, Iván Fischer, Philippe Jordan, René Jacobs, Fabio Luisi, Marek Janowski, Kent Nagano and Sir Roger Norrington.

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Jeremy Ovenden

Stephan Loges

tenor

bass-baritone

Highlights this season and beyond include the title role in Mozart’s Lucio Silla at La Monnaie, Brussels; Don Ottavio in Don Giovanni with the Budapest Festival Orchestra and Iván Fischer; and La clemenza di Tito at both the Théâtre Capitole de Toulouse and the Teatro Real, Madrid. Past concert highlights have included Mozart’s Requiem at the 2015 Edinburgh International Festival, at the 2016 BBC Proms and at the 2016 San Sebastián Festival with Iván Fischer and the Budapest Festival Orchestra; Haydn’s The Seasons with the London Symphony Orchestra under the late Sir Colin Davis, with the Deutsche Symphonie-Orchester Berlin under Andrew Manze, with the Gabrieli Consort under Paul McCreesh (also for a recording) and with the Bayerischer Rundfunkorchester under Sir Simon Rattle; Haydn’s The Creation with the Orchestra dell’Accademia di Santa Cecilia, the RAI orchestra, Turin, and the LSO and Richard Egarr; Handel’s Messiah with the Chicago and St Louis symphony orchestras and Bernard Labadie; Bach’s St Matthew Passion with the Royal Concertgebouw Orchestra and Ivor Bolton, as well as with the Rotterdam Philharmonic; Mendelssohn’s Elijah with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra; Beethoven’s Missa Solemnis with both the Scottish Chamber Orchestra and the Beethoven Orchester Bonn; Elgar’s The Dream of Gerontius with the Calouste Gulbenkian Foundation in Lisbon and Paul McCreesh; Berlioz’s L’enfance du Christ with the MDR Symphony Orchestra and at the Basilica of St Denis, Paris; Mendelssohn’s Die erste Walpurgisnacht with the Leipzig Gewandhausorchester; and Britten’s Serenade and War Requiem with the Strasbourg Philharmonic and Danish National orchestras. He has toured with René Jacobs in performances of Handel’s Saul, Il trionfo del tempo and La resurrezione.

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Jeremy Ovenden studied with Norman Bailey and Neil Mackie at the Royal College of Music, London, and privately with Nicolai Gedda.

Born in Dresden, Stephan Loges was an early winner of the Wigmore Hall International Song Competition. He has given recitals throughout the world, including regular appearances at Wigmore Hall, as well as at Carnegie Hall, New York; the Amsterdam Concertgebouw; the Vienna Konzerthaus; the Klavierfestival Ruhr; La Monnaie, Brussels; the Schleswig-Holstein Festival; Santiago de Compostela; BBC Radio 3; the Musée d’Orsay, Paris; and the Vocal Arts Series in Washington with pianists Graham Johnson, Eugene Asti, Roger Vignoles, Iain Burnside, Simon Lepper, Joseph Middleton and Sholto Kynoch. Engagements this season and beyond include a return to the Theater an der Wien to sing Sprecher in The Magic Flute with René Jacobs; the roles of The Blind Man/Alphonse in the world premiere of Mark Grey’s Frankenstein at La Monnaie, Brussels; Bernstein’s Songfest with MDR Sinfonieorchester Leipzig; and recitals at Wigmore Hall and the Oxford Lieder Festival. Stephan has sung Bach cantatas with John Eliot Gardiner and the Bach Passions with the Gabrieli Consort and Paul McCreesh (also recorded for Deutsche Grammophon). He made his BBC Proms debut in 2002 in the St Matthew Passion with Trevor Pinnock and has since sung it with many period and modern orchestras. He recently sang Christus in the St Matthew Passion with the Orchestra of the Age of Enlightenment directed by Mark Padmore, and with the Monteverdi Choir and Sir John Eliot Gardiner (also recorded for Soli Deo Gloria); the St John Passion with the Leipzig Gewandhausorchester; the Easter Oratorio with the Gabrieli Consort and McCreesh; and the Christmas Oratorio with the Russian National Orchestra and Vladimir Jurowski. Stephan was a member of the Dresden Kreuzchor before studying at the Hochschule der Kunste, Berlin and the Guildhall School of Music & Drama in London.

London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Ian Frost | Choir Manager Tessa Bartley

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Highlights in recent years have included Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; Haydn’s The Creation with Sir Roger Norrington; and Mozart’s Requiem under Nathalie Stutzmann. The Choir was delighted to celebrate its 70th anniversary in April 2017 with a highly acclaimed performance of Tallis’s Spem in alium and Mahler’s Symphony No. 8 under Vladimir Jurowski. The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. The Choir has appeared twice at the Touquet International Music Masters Festival, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem. The Choir looks forward to performing Bach’s Christmas Oratorio with the London Philharmonic Orchestra tomorrow evening at the Théâtre des ChampsElysées, Paris. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. Join us: lpc.org.uk

Sopranos Chris Banks Tessa Bartley Agnus Bialecki Vicki Brammall Carole Cameron Ella Cape-Davenhill Olivia Carter Paula Chessell Victoria Denard Rachel Gibbon Jane Hanson Olivia Haslam Joy Lee Clare Lovett Linda Park Marie Power Rebecca Sheppard Charlotte Stacey Katie Stuffelbeam Susan Thomas Rachel Topham Rochelle Williams Altos Christine Allison Phye Bell Andrei Caracoti Noel Chow Sara de la Serna Regina Frank Kathryn Gilfoy Charlotte Kingston Ethel Livermore Laetitia Malan Sophie Morrison John Nolan Sheila Rowland Carolyn Saunders Rima Sereikiene Susi Underwood Jenny Watson

Tenors Geir Andreassen James Clarke Iain Handyside David Hoare Stephen Hodges Patrick McClurg Luke Phillips Javier Ruiz-Morote Jaka Škapin Martin Yates Basses Julian Cassels-Brown Geoffrey Clare Marcus Daniels Thomas Fayle Christopher Gadd Nicholas Hennell-Foley Halldor Fosså Ian Frost Joseph Hewson Yaron Hollander Martin Hudson Robert Northcott William Parsons Johannes Pieters Jonathan Riley Alex Thomas

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Programme notes

Johann Sebastian Bach

Christmas Oratorio, BWV248 (1734)

1685–1750

Although we tend to think of Bach’s large-scale choraland-orchestral works such as the B minor Mass or the Passions as being rather loosely part of the ‘oratorio’ repertory, he himself only used the term on three occasions. That the works in question – the Christmas Oratorio, the Ascension Oratorio and the Easter Oratorio – are largely indistinguishable in style from his many church cantatas, and indeed occupied the same slot as them in the Lutheran service, suggests that by naming them thus Bach was attempting to conjure up a whiff of novelty that was only partly there. By the time he wrote them in the mid-1730s, there had been a slowing of the creative flood that, in the period immediately following his arrival in Leipzig in 1723, had seen him compose five cycles of cantatas for the complete church year; now he was satisfying himself with fashioning old works into new. This was the period of the four short ‘Lutheran’ Masses and the Kyrie and Gloria of what would later become the B minor Mass, all of which adapted previous compositions to new purposes. The three oratorios were likewise examples of this timehonoured practice, often referred to as ‘parody’. The advantages for Bach were not just the saving of time and composing effort, but also the salvaging of music that would otherwise have largely gone to waste. The sources for his church ‘parody’ works were often secular one-off cantatas for occasions such as the birthday of a local grandee or the celebration of the inauguration of the town council; their enshrinement in a more timeless sacred context ensured their longevity, both in the composer’s time and (though he was not to know it) for posterity. Yet for all their similarities to the cantatas, Bach’s oratorios are just about different enough to merit their separate category. They share with the cantatas the overall mixture of recitatives, arias, choruses and chorales (or hymns), but they also have an underlying narrative flavour that

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links them to the genre’s origins as a semi-dramatic treatment of a sacred subject. In the Christmas and Ascension oratorios in particular this is made explicit by the presence, as in Bach’s Passions, of an ‘Evangelist’ in the form of a tenor soloist singing lines from the Gospels. The arias and choruses then examine and reflect on the emotions provoked by these narrated events, while the chorales propose a communal response. The Christmas Oratorio was put together for the Christmas season of 1734–35, and in fact consists of freestanding cantata-like works for six separate days of the festive period, starting with Christmas Day and ending with the Feast of Epiphany (6 January). The six parts were performed on their appropriate days, with Parts 1, 2, 4 and 6 heard twice, once in each of Leipzig’s main churches, the Thomaskirche and the Nikolaikirche; Parts 3 and 5 were given just the once, in the Nikolaikirche. It is clear, however, that Bach intended them to make up a coherent cycle, since together they form a chronological narrative from the birth of Christ to the arrival of the Wise Men, encompassing in between the episodes of the angel’s appearance to the shepherds, the shepherds’ visit to Bethlehem, the circumcision and naming of Jesus, and Herod’s disquiet. Musically, too, there is unity across the six parts, as Bach drew most of the music for the choruses, arias and duets from a group of three secular cantatas written over the preceding two years for the members of the Saxon royal household: Herkules auf dem Scheidewege (BWV213), Tönet, ihr Pauken! (BWV214), and Preise dein Glücke (BWV215). Part 6 appears to have been drawn largely from a lost church cantata. New words were provided for these, almost certainly by the poet Christian Friedrich Henrici (known as Picander), Bach’s collaborator on the St Matthew Passion and on many of his parody works. Bach’s main tasks were thus to compose the recitatives and a handful of other new numbers, and to select and harmonise suitable chorales.

Part 1 – Jauchzet, frohlocket, auf, preiset die Tage (Christmas Day: 25 December) 1 Chorus: Jauchzet, frohlocket, auf, preiset die Tage 2 Recitative (Evangelist): Es begab sich aber zu der Zeit 3 Recitative (alto): Nun wird mein liebster Bräutigam 4 Aria (alto): Bereite dich, Zion 5 Chorale: Wie soll ich dich empfangen 6 Recitative (Evangelist): Und sie gebar ihren ersten Sohn 7 Chorale & Recitative (soprano, bass): Er ist auf Erden kommen arm 8 Aria (bass): Großer Herr, o starker König 9 Chorale: Ach, mein herzliebes Jesulein Concerned with the birth of Jesus, Part 1 of the Christmas Oratorio is predominantly jubilant in mood. The unusual opening to the first chorus is a consequence of its original secular text, in which drums and trumpets were called upon in turn to join the celebratory atmosphere. After the Evangelist’s first recitative, telling of the arrival of Joseph and Mary in Bethlehem, a bouyant alto aria exhorts the faithful (Zion) to be prepared for Christ’s coming, before a chorale considers how this might be done; the use of Hans Leo Hassler’s famous ‘Passion chorale’ melody

is doubtless intended to direct the listener’s thoughts to Christ’s sacrifice on the Cross. A short recitative describing Mary laying the child in the manger leads to a hybrid movement musing on Christ’s healing mission, in which lines from a Christmas chorale are sung by the sopranos and mingled with further comments from the bass. There is a bass aria with trumpet obbligato praising Christ in regal terms, and finally a solemn rendition of another Christmas chorale with trumpet and drum interpolations.

Part 2 – Und es waren Hirten in derselben Gegend (2nd Day of Christmas: 26 December) 10 Sinfonia 11 Recitative (Evangelist): Und es waren Hirten in derselber Gegend 12 Chorale: Brich an, du schönes Morgenlicht 13 Recitative (Evangelist, soprano): Und der Engel sprach zu ihnen 14 Recitative (bass): Was Gott dem Abraham verheißen 15 Aria (tenor): Frohe Hirten, eilt, ach eilet 16 Recitative (Evangelist): Und das habt zum Zeichen 17 Chorale: Schaut hin! dort liegt im finstern Stall 18 Recitative (bass): So geht denn hin, ihr Hirten, geht 19 Aria (alto): Schlafe, mein Liebster, genieße der Ruh 20 Recitative (Evangelist): Und alsobald war da bei dem Engel 21 Chorus: Ehre sei Gott in der Höhe 22 Recitative (bass): So recht, ihr Engel, jauchzt und singet 23 Chorale: Wir singen dir in deinem Heer The trumpets and drums are rested, to be substituted by two deep-toned cors anglais who soon make their presence felt in the lilting opening Sinfonia, one of the few numbers to be specially written for the Oratorio.

The subject of this Part 2 is the Angel’s announcement of Christ’s birth to the shepherds, and the piping oboes make a memorable contribution to its warmly pastoral flavour. After the Sinfonia the Evangelist describes the

London Philharmonic Orchestra | 11

Programme notes continued

shepherds in the fields, before a chorale interposes in impatient anticipation of the next recitative, in which an Angel utters the famous words: ‘Fear not, … for unto you is born this day in the city of David a Saviour, which is Christ the Lord.’ A light-footed tenor aria with flute obbligato encourages the shepherds to hurry to see the child, sentiments echoed in the succeeding group of recitatives and chorales, until we reach an alto aria cast as a rich and comforting lullaby. The Evangelist returns to announce the appearance of the heavenly host, who are brilliantly evoked in a joyful chorus. A final, contented bass recitative then leads to the final chorale, in which snatches of the pastoral Sinfonia make cameo returns.

Part 3 – Herrscher des Himmels, erhöre das Lallen (3rd Day of Christmas: 27 December) 24 25 26 27 28 29 30 31 32 33 34 35 35b

Chorus: Herrscher des Himmels, erhöre das Lallen Recitative (Evangelist): Und da die Engel von ihnen gen Himmel fuhren Chorus: Lasset uns nun gehen gen Bethlehem Recitative (bass): Er hat sein Volk getröst Chorale: Dies hat er alles uns getan Duet (soprano, bass): Herr, dein Mitleid, dein Erbarmen Recitative (Evangelist): Und sie kamen eilend Aria (alto): Schließ, mein Herze, dies selige Wunder Recitatiave (alto): Ja, ja! mein Herz soll es bewahren Chorale: Ich will dich mit Fleiß bewahren Recitative (Evangelist): Und die Hirten kehrten wieder um Chorale: Seid froh dieweil Chorus: Herrscher des Himmels, erhöre das Lallen

The trumpets and drums return for Part 3, which deals with the shepherds’ adoration of the baby Jesus. It opens with a brief chorus of praise, after which the Evangelist tells of the shepherds’ journey to Bethlehem and the chorus (playing a role for once) recreate their excited babble. A bass recitative and a chorale remind us that God has made this happen for all of us, before a cheerful soprano and bass duet offer wonder at his mercy and compassion. The Evangelist relates how

the shepherds spread the good news, and an alto aria resolves to make the ‘blissful miracle’ the foundation of faith. Thought to have been composed specifically for the purpose, this aria, with its steady tread and tender violin solo, seems more than usually heartfelt. An alto recitative and a chorale echo these feelings, the Evangelist informs us that the shepherds have returned to their flocks, and there is one last chorale urging joy before Part 3 ends with a reprise of the first chorus.

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

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Part 4 – Fallt mit Danken, fallt mit Loben (Feast of the Circumcision: 1 January) 36 37 38 39 40 41 42

Chorus: Fallt mit Danken, fall mit Loben Recitative (Evangelist): Und da acht Tage um waren Recitative (bass, soprano): Immanuel, o süßes Wort Aria (soprano): Flößt dein Namen Recitative (bass, soprano): Wohlan! Dein Name soll allein Aria (tenor): Ich will nur dir zu Ehren leben Chorale: Jesus richte mein Beginnen

A new instrumental sound, that of a pair of horns, colours the opening chorus of Part 4. As befits the subject of Jesus’s naming and circumcision ceremonies, the opening chorus has an air of courtly celebration, as if attendant on some relaxed and time-honoured ritual. The Evangelist then tells us how the name Jesus was foretold by the Angel, before the bass ponders that name’s significance and, following a prompt from an intertwining chorale, considers how Christ has driven

away fear of death. Next, an aria for soprano basks in the comfort of this last thought, to reassuring echoes from an oboe and distant second soprano. Another mingling of bass recitative-and chorale offers leisurely thanks, and is followed by an aria for tenor with two obbligato violins asking the saviour’s aid in finding the strength to offer worthy praise. Finally, the horns return to accompany the contented concluding chorale, which looks forward to the help Jesus will provide throughout life.

Part 5 – Ehre sei dir, Gott, gesungen (Sunday after the Circumcision: 2 January in 1735) 43 44 45 46 47 48 49 50 51 52 53

Chorus: Ehre sei dir, Gott, gesungen Recitative (Evangelist): Da Jesus geboren war zu Bethlehem Chorus & Recitative (alto): Wo ist der neugeborne König der Jüden? Chorale: Dein Glanz all Finsternis verzehrt Aria (bass): Erleucht auch meine finstre Sinnen Recitative (Evangelist): Da das der König Herodes hörte Recitative (alto): Warum wollt ihr erschrecken? Recitative (Evangelist): Und ließ versammeln alle Hohenpriester Trio (soprano, alto, tenor): Ach, wenn wird die Zeit erscheinen? Recitative (alto): Mein Liebster herrschet schon Chorale: Zwar ist solche Herzensstube

The most lightly scored of the sections of the Christmas Oratorio, Part 5 deals with the arrival of the Wise Men at Herod’s court. It opens with a substantial but nimble chorus of praise to God, which, having no known original version, may have been specially composed for this place in the Oratorio. The Evangelist relates the Wise Men’s arrival, who then speak for themselves in two brief snatches of chorus (‘Where is the King of the Jews?’, ‘We have seen his star in the East’), in between which comes an alto recitative exulting in the light of Christ. A chorale looks to this light for guidance,

as does the ensuing carefree bass aria. The Evangelist then describes Herod’s unease and then, after a brief interruption by an incredulous alto, how he learns that the scriptures have foretold the coming of a new and mighty ruler. A trio then ingeniously takes up this theme, with a soprano and tenor asking when it will happen, and the alto answering ‘Hush! It is here!’. A short alto recitative assures us that Christ rules in any willing heart, before a final tender chorale returns to the idea of his shining light. Continued overleaf London Philharmonic Orchestra | 13

Programme notes continued

Part 6 – Herr, wenn die stolzen Feinde schnauben (Feast of the Epiphany: 6 January) 54 55 56 57 58 59 60 61 62 63 64

Chorus: Herr, wenn die stolzen Feinde schnauben Recitative (Evangelist, bass): Da berief Herodes Recitative (soprano): Du Falscher, suche nur den Herrn zu fällen Aria (soprano) Nur ein Wink von seinen Händen Recitative (Evangelist): Als sie nun den König gehöret hatten Chorale: Ich steh an deiner Krippen hier Recitative (Evangelist): Und Gott befahl ihnen im Traum Recitative (tenor): So geht! genug, mein Schatz geht nicht von hier Aria (tenor): Nun mögt ihr stolzen Feinde schrecken Recitative (soprano, alto, tenor, bass): Was will der Hölle Schrecken nun Chorale: Nun seid ihr wohl gerochen

Part 6 brings a return to the celebratory sound of trumpets and drums, and another dancing opening chorus, this time asking God for a strong faith with which to resist all enemies. The Evangelist tells how Herod calls in the Wise Men and sends them into Bethlehem to find the young child of whom he has heard – Herod’s words are sung at this point by the bass. The soprano warns us in a horrified recitative that Herod intends to kill Jesus, and goes on in a resolute aria to relate how the saviour’s strength can overcome the pride of any opponent. The Evangelist then describes the Wise Men’s arrival at the stable and their

PLAYER’S PERSPECTIVE ‘Most of Bach’s orchestral works have prominent roles for the oboe section. However, as a modern symphony orchestra we don’t often play in this Baroque style, so the Christmas Oratorio will be an interesting challenge that I don’t doubt under Vladimir Jurowski’s direction we can rise to! The work has two oboes and two cors anglais in the scoring, so my section will be out in force tonight.’ Alice Munday, oboe

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presentation of gifts, before a chorale suggests that we all have something to give Jesus, namely our spirits and minds. Warned of Herod’s purpose, the Wise Men slip away home, but the tenor declares an unswerving devotion to Jesus in an ardent recitative, before boldly declaring that no-one need fear while Christ is by their side. All four soloists reiterate this in a brief joint recitative, and the Christmas Oratorio ends with a richly decorated version of the ‘Passion chorale’ rejoicing in Christ’s victory over death, devil, sin and hell. Programme note © Lindsay Kemp

Watch members of the London Philharmonic Choir rehearsing and discussing the Christmas Oratorio: lpo.org.uk/explore

Recommended recording of tonight’s work Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. J S Bach: Christmas Oratorio Dunedin Consort | John Butt (Linn Records)

2017/18 annual appeal

Sharing the Wonder 30 years of music for all

For 30 years we have taken ourselves off the concert platform and out into the world around us, driven by the desire to share the power and wonder of orchestral music with everyone. We strive to create stories and experiences that others will call their own. From planting the seed in those who have never heard orchestral music to reawakening others to joys they may have forgotten. We work to awaken passions, develop talent and nurture ability. Help us celebrate this 30th year of the London Philharmonic Orchestra’s Education and Community Programme by giving to our Appeal. Your gift will support us as we invest in the creation of future experiences. Together we can unlock discoveries not only in musical abilities, but also in confidence, creativity and self-belief; helping create stories of change and journeys of progression.

£30

will contribute to our work, wherever we need it most

£50

will hire a venue for a 30-minute mentor session for an LPO Junior Artist

£85

will hire a set of 30 chime bars for Creative Classrooms

£120

will pay for a class of 30 children to attend a subsidised BrightSparks concert

£300

will pay for 30 teacher resource packs, used prior to attending a BrightSparks concert

£500

will pay for 30 teachers to attend a musical INSET training day

Read some of the stories so far, find out more and donate to help share the wonder

lpo.org.uk/appeal

be m ov e d Next concerts at Southbank Centre’s Royal Festival Hall

wednesday 17 january 2018 7.30pm

friday 19 january 2018 7.30pm

saturday 27 january 2018 6.00pm please note start time

Khachaturian Adagio from Spartacus Bach Toccata and Fugue in D minor Rachmaninoff Piano Concerto No. 3* Saint-Saëns Symphony No. 3 (Organ) Tchaikovsky Symphony No. 4 Fauré Pavane Jongen Symphonie Concertante Mikhail Agrest conductor Andrey Gugnin piano Dirk Brossé conductor James O’Donnell organ

A Golden Gala Evening: Wagner Das Rheingold Vladimir Jurowski conductor Soloists including Sofia Fomina, Michelle DeYoung, Anna Larsson, Matthias Goerne & Matthew Rose

* In co-operation with the Serge Rachmaninoff Foundation.

For more details visit lpo.org.uk/vj10 Generously supported by members of the Orchestra’s Ring Cycle Syndicate and patrons of our Golden Gala Evening.

Book now at lpo.org.uk or call 020 7840 4242 Season discounts of up to 30% available

16 | London Philharmonic Orchestra

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 Sir 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 The Rind Foundation Robert Markwick & Kasia Robinski 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 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 The Tsukanov Family Principal Associates An anonymous donor The Candide Trust Alexander & Elena Djaparidze Mr & Mrs Philip Kan Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Associates Kay Bryan William & Alex de Winton Virginia Gabbertas Oleg & Natalya Pukhov Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Hamish & Sophie Forsyth Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan Mr & Mrs Makharinsky Geoff & Meg Mann Tom & Phillis Sharpe The Viney Family Laurence Watt Guy & Utti Whittaker

Silver Patrons Michael Allen Mrs Irina Gofman David Goldberg Mr Gavin Graham Pehr G Gyllenhammar Catherine Høgel & Ben Mardle Matt Isaacs & Penny Jerram Mrs Elizabeth Meshkvicheva The Metherell Family Mikhail Noskov & Vasilina Bindley Jacopo Pessina Brian & Elizabeth Taylor Bronze Patrons Anonymous donors Dr Christopher Aldren Mrs Margot Astrachan Mrs A Beare Richard & Jo Brass Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Richard Buxton John Childress & Christiane Wuillaimie Mr Geoffrey A Collens Mr John H Cook Bruno De Kegel Georgy Djaparidze David Ellen Ulrike & Benno Engelmann Ignor & Lyuba Galkin Mr Daniel Goldstein Mr Roger Greenwood Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home Mr Glenn Hurstfield Rose & Dudley Leigh Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill

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Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Anonymous Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein Mrs Anne Storm Sergei & Elena Sudakov Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Principal Supporters An anonymous donor Roger & Clare Barron Mr Geoffrey Bateman Gabor Beyer, through BTO Management Consulting AG David & Patricia Buck Dr Anthony Buckland Desmond & Ruth Cecil Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Peter Cullum CBE Mr Timonthy Fancourt QC Marie-Laure Favre-Gilly de Varennes de Beuill Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Mr Raphaël Kanzas Rehmet Kassim-Lakha de Morixe Mr Colm Kelleher Peter Kerkar

Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Peter Mace Brendan & Karen McManus Kristina McPhee Andrew T Mills Randall & Maria Moore Dr Karen Morton Olga Pavlova Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Tatiana Pyatigorskaya Martin & Cheryl Southgate Matthew Stephenson & Roman Aristarkhov Mr Christopher Stewart Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer Sabina Fatkullina Mrs Janet Flynn Christopher Fraser OBE The Jackman Family Mrs Irina Tsarenkov

Mr David MacFarlane Mr John Meloy Mr Stephen Olton Robin Partington Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr David Russell Mr Kenneth Shaw Ms Natalie Spraggon Michael & Katie Urmston Damien & Tina Vanderwilt Timothy Walker AM Mr John Weekes 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 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: William A. Kerr Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee David Oxenstierna Natalie Pray Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners Giberg Goldman Sachs Pictet Bank White & Case LLP Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Accenture Ageas BTO Management Consulting AG Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Fevertree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute Newcomen Collett Foundation The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Thistle Trust

UK Friends of the FelixMendelssohn-BartholdyFoundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation 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 Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Al MacCuish Susanne Martens* George Peniston* Natasha Tsukanova Mark Vines* Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Project Manager