London Philharmonic Orchestra 21 Mar 2018 concert programme by London Philharmonic Orchestra

CONCERt programme

Changing Faces:

Stravinskyâ&#x20AC;&#x2122;s journey

february â&#x20AC;&#x201C; december 2018 royal festival hall

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 Wednesday 21 March 2018 | 7.30pm

Stravinsky Apollon musagète (29’) Weber Konzertstück in F minor for piano and orchestra, Op. 79 (16’) Interval (20’) Stravinsky Capriccio for piano and orchestra (17’) Schubert Symphony No. 3 in D major, D200 (25’)

Andrés Orozco-Estrada conductor Peter Donohoe piano

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: Pieter Schoeman 6 Changing Faces: Stravinsky’s Journey 8 Andrés Orozco-Estrada 9 Peter Donohoe 10 Programme notes 12 Stravinsky on the LPO Label 13 Recommended recordings 14 Next concerts New on the LPO Label 15 2018/19 season: on sale now 16 LPO 2017/18 Annual Appeal 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

Orchestra news

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, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Honest Burger, Côte Brasserie, Skylon 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

LPO 2018/19 season: on sale now The LPO 2018/19 season is now on sale – turn to page 15 to find out more. You can browse and book online at lpo.org.uk/newseason or call us on 020 7840 4200 to request a season brochure by post.

Virgin Sport British 10k: join Team LPO! On Sunday 15 July 2018, Team LPO will be taking to the pavements of London once again as part of the Virgin Sport British 10k. This year we will be running in aid of our Annual Appeal, celebrating 30 years of our Education and Community Programme and the creation of musical experiences for all. Following the success of our previous teams, who have raised over £27,000, we are looking for runners to take up the mantle for this year’s run. If you are interested in running on behalf of the LPO or would like more information, please contact Ellie Franklin at ellie.franklin@lpo.org.uk or on 020 7840 4225.

We look forward to seeing you again soon. 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.

New on the LPO Label: Shostakovich Symphony No. 7 (‘Leningrad’) This month’s CD release on our LPO Label is Shostakovich’s Symphony No. 7 conducted by Kurt Masur, recorded live in concert at Royal Festival Hall in 2003 (LPO-0103). The CD is priced at £9.99 and, along with 100+ other titles on the label, is available to buy from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Our recordings are also available to download or stream via iTunes, Amazon, Spotify and others.

Wigmore Hall charity concert: LPO Benevolent Fund Out now The Spring/Summer 2018 edition of Tune In, our free twice-yearly magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic

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On Sunday 22 April at 7.30pm, the Leonore Piano Trio will give a special fundraising concert at Wigmore Hall in aid of Marie Curie and the LPO Benevolent Fund, which provides crucial financial support to LPO musicians unable to work through illness or injury. The programme will include Schubert’s Piano Trio No. 1 in B flat and works by Haydn and Parry. Tickets are priced from £15–£25 and can be booked via wigmore-hall.org.uk.

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Vesselin Gellev Sub-Leader JiJi Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Tina Gruenberg Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Helena Herford Sioni Williams Sheila Law

Violas Fiona Winning Guest Principal Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Alistair Scahill Daniel Cornford Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Laurence Lovelle Tom Walley

Flutes Juliette Bausor Principal Sue Thomas*

Chair supported by Sir Simon Robey

Chair supported by Victoria Robey OBE

John Ryan* Principal Chair supported by Laurence Watt

Stewart McIlwham*

Martin Hobbs Gareth Mollison

Horns David Pyatt* Principal

Piccolo Stewart McIlwham* Principal

Trumpets Paul Beniston* Principal Anne McAneney*

Oboes Ian Hardwick* Principal Alice Munday

Chair supported by Geoff & Meg Mann

Trombones David Whitehouse Principal Richard Ward

Cor Anglais Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets Giovanni Punzi Guest Principal Thomas Watmough Paul Richards*

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal

E flat Clarinet Thomas Watmough Principal

* Holds a professorial appointment in London

Bass Clarinet Paul Richards* Principal Bassoons Jonathan Davies Principal Gareth Newman

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: The Candide Trust • Andrew Davenport • William & Alex de Winton • Friends of the Orchestra

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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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ran throughout 2017, exploring what it means to be human in the 21st century. In 2018, we explore the life and music of Stravinsky in our 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: tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France, and plans for 2018/19 include a major tour of China and Asia, as well as Belgium, France, Germany, The Netherlands, Spain, Switzerland and the USA.

Pieter Schoeman leader

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. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega

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 Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski, Mozart and Rachmaninoff piano concertos performed by Aldo Ciccolini under Yannick Nézet-Séguin, and Shostakovich’s Symphony No. 7 under Kurt Masur.

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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Changing Faces: Stravinsky’s journey

Richard Bratby introduces our festival, which runs throughout 2018 On 24 November 1944, a new musical called Seven Lively Arts opened at the Forrest Theatre, Philadelphia. The composer was Cole Porter, the producer was Billy Rose, and their aim was to make entertainment out of the greatest talents in contemporary art. Benny Goodman and Dolores Gray starred; Salvador Dali created artwork for the foyer. And right in the middle – setting the stamp of greatness on the show’s highbrow aspirations – was a new ballet by Igor Stravinsky. Rose had offered Stravinsky $5000 (the equivalent of over half a million today) for 15 minutes of music. But even so, he felt something wasn’t quite right. Luckily he had the top Broadway arranger Robert Russell Bennett on call. After the first night, he telegraphed Stravinsky: YOUR MUSIC GREAT SUCCESS. COULD BE SENSATIONAL SUCCESS IF YOU WOULD AUTHORISE ROBERT RUSSELL BENNETT RETOUCH ORCHESTRATION. Without missing a beat, Stravinsky telegraphed straight back: SATISFIED WITH GREAT SUCCESS. It’s a great story: and like the best Stravinsky stories, it’s also true. This is where Stravinsky was in the middle of the 20th century – a celebrity, a wit; a man who moved with total assurance between the biggest names in contemporary culture. You didn’t have to know anything about classical music to know that Stravinsky was the world’s greatest living composer: that his Russian name and long, angular face stood for the most modern kind of genius. ‘I’ve interviewed the great Stravinsky’, sang the heroine of Rodgers and Hart’s Pal Joey in 1940, and the orchestra responded with a dissonant shriek. A month earlier, Walt Disney had released Fantasia, in which cartoon dinosaurs cavorted to Stravinsky’s most notorious hit, The Rite of Spring. It played to millions. Why wouldn’t an ambitious Broadway producer want to get Stravinsky on board? And why wouldn’t a major orchestra want to celebrate his music? On one level, the question is redundant. Stravinsky’s great scores for the Ballets Russes – The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913) – are as central to modern concert life as Beethoven or Mahler. But as contemporaries sensed, there was more to Stravinsky than an explosion of innovation and colour just before the Great War. How did 6 | London Philharmonic Orchestra

Igor Stravinsky’s star on the Hollywood Walk of Fame. He was inducted in 1960 for his work in radio. a singer’s son from the Russia of Tsar Alexander III end up as the toast of jazz-age Paris? How did a highbrow European modernist find himself courted by Hollywood’s top studio bosses? And how did the most famous classical composer on earth suddenly – in the last two decades of his career – become more controversial than he’d ever been? From his birth into a Russia that had been unchanged for millennia, to his funeral in Venice in 1971, watched by the world’s TV cameras, Stravinsky’s changing faces reflected more than just music. Stravinsky’s journey is the story of Western culture in the 20th century. So if it sounds like the LPO has been here before – well, in a sense it has. ‘For me, this Stravinsky journey is the second edition of The Rest Is Noise’, says Vladimir Jurowski, referring to the year-long exploration of 20th-century music and art through which he led the Orchestra in 2013. Changing Faces: Stravinsky’s Journey revisits that story and refines the focus. ‘In The Rest Is Noise we couldn’t concentrate upon any one composer’, Jurowski explains. ‘But here we’ve chosen to go through the years with one particular composer who reflected an entire century. Sometimes it’s chronological; sometimes it’s stylistic. His works are accompanied by the works of the people who he knew personally, who surrounded him, who preceded or succeeded him.’ That’s a vital point. Stravinsky had a gift for putting himself wherever the cultural action was: whether in

music, visual art, literature, cinema, politics or even fashion. In the first years of the century, there was no artistic force more thrilling than Serge Diaghilev’s Ballets Russes. But Stravinsky went on to party with Cole Porter in Venice, to sleep with Coco Chanel in Paris, and on one famous occasion in May 1922, to have dinner with James Joyce, Marcel Proust and Pablo Picasso. (It didn’t go well: Joyce fell asleep on the table and Proust got on Stravinsky’s nerves). Mussolini courted him – happily with little success. After he moved to the USA in 1939 he socialised with Fred Astaire, Alfred Hitchcock, Greta Garbo and Man Ray, while fellow exiles ranging from Rachmaninoff to Gone With the Wind composer Max Steiner ate pirozhki and drank champagne at Stravinsky’s Hollywood home. His creative partnerships embraced Benny Goodman, George Balanchine, Jean Cocteau, WH Auden, TS Eliot and Modoc – a dancing elephant in Barnum & Bailey’s circus. So Changing Faces: Stravinsky’s Journey places his music in context alongside music that Stravinsky influenced and (perhaps less obviously) that influenced him. ‘We’re trying to follow Stravinsky’s life, and with him, to follow the development of music in the 20th century – because effectively he went through almost every style change’, says Jurowski. So the journey begins not with the three great Diaghilev ballets (though they certainly feature) but in the sumptuous world of Imperial Russia’s so-called ‘Silver Age’, placing Stravinsky’s youthful music next to that of his teacher Rimsky-Korsakov and the fairytale music of Anatoly Liadov who, by fumbling his commission for The Firebird, accidentally gave Stravinsky the biggest break of his career. There’s also a chance to hear the music of Alexander Glazunov – who Stravinsky later derided, but whose influence can be heard in every note of the 24-year-old Igor’s delightful Symphony in E flat. And the journey continues, through revolutions both artistic and political. In the wake of the First World War, Stravinsky led the way in creating something bold, new, and yet strangely familiar from the wreckage of a civilisation. ‘His style kept evolving and changing’, says Jurowski. ‘At first it was Italian baroque music that interested him, but later Bach – and again, later there were all sorts of other things.’ ‘Neo-classicism’, it’s been called, but no label can fully cover the wit of Stravinsky’s reinvention of Pergolesi in Pulcinella, his playful not-quite-mockery of German romantics like Weber and Schubert, and the timeless clarity of the classical

language he created on his own terms in works like Apollon musagète and the Symphony in C. ‘He used to call himself an inventor of music rather than a composer, and I don’t think he was deluding himself’, says Jurowski. ‘What I find fascinating is that whatever style he explores, he always makes it sound as if he alone, Igor Stravinsky, has invented this style. He has this chameleon-like ability – and at the same time this incredibly strong individual voice.’ That ability to make the musical world turn around him would stand Stravinsky in good stead in the later years of his career, and as well as his 1951 opera The Rake’s Progress, later LPO concerts in 2018 will examine his decision (as seismic in its time as Bob Dylan going electric) to embrace the 12-tone system. It’s one reason why contemporary composers find him so compelling: the series features Stravinsky-influenced premieres by Gerald Barry and Anders Hillborg, while Thomas Adès conducts Perséphone. But there are also glimpses of the sometimes unpredictable man behind the mask of genius. His love for Tchaikovsky and the lost Russia he embodied; his fondness for poker (translated into the brilliantly deadpan ballet Jeu de cartes), and his profound religious faith, expressed in the Symphony of Psalms – ‘composed for the glory of God’. His biographer Robert Craft – a prim progressive – was ‘astonished’ by the respect that Stravinsky showed to exiled Russian royalty. But Stravinsky never followed the modernist script. He wrote it. And that force of personality – that electrifying creativity – overflowed into everything he touched. Vladimir Jurowski remembers handling the manuscript of The Rite of Spring in the Paul Sacher Archive in Basel. ‘What struck me was the incredible artistic quality of the score, as draughtsmanship. If you look at it not as a musician but simply the way you would look at a piece of art, it looks like an incredible cubist or Futurist design.’ Genius will out, and Stravinsky himself gives the best rationale for following his journey from beginning to end, in a world whose face is changing faster than ever. ‘I live neither in the past nor the future. I am in the present. I can know only what the truth is for me today. That is what I am called upon to serve, and I serve it in all lucidity.’ Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. lpo.org.uk/stravinsky

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Andrés Orozco-Estrada Principal Guest Conductor

Orozco-Estrada steered a gripping journey ... In phenomenal form, the London Philharmonic matched him beat for beat, every section excelling, every principal deserving individual credit, playing together and off each other with an impeccability of exchange, ensemble, chording and dynamic finesse. Breathtaking! Classical Source, 29 October 2017 (Shostakovich’s ‘Leningrad’ Symphony with the LPO at Royal Festival Hall)

Andrés Orozco-Estrada first worked with the London Philharmonic Orchestra in November 2013, conducting a major tour of Germany. His impressive energy and musicianship, and the immediate rapport that formed between him and the players, combined with such success that it led quickly to the announcement that he would take up the position of Principal Guest Conductor from September 2015. Born in Medellín, Colombia and trained in Vienna, Andrés is one of the most sought-after conductors of his generation. In 2014 he became Music Director of the Houston Symphony and Chief Conductor of the Frankfurt Radio Symphony Orchestra. Andrés Orozco-Estrada first came to international attention in 2004 when he took over a concert with the Tonkünstler Orchestra Niederösterreich at the Vienna Musikverein, and was celebrated by the Viennese press as a ‘wonder from Vienna’. Numerous engagements with many international orchestras followed, and since then, Orozco-Estrada has developed a highly successful musical partnership with the Tonkünstler Orchestra, serving as Music Director from 2009–15. Andrés Orozco-Estrada now appears with many of the world’s leading orchestras including the Vienna Philharmonic, the Munich Philharmonic, the Leipzig Gewandhaus Orchestra, the Mahler Chamber Orchestra, the Santa Cecilia Orchestra in Rome and the Orchestre National de France.

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Recent successful debuts have included The Philadelphia Orchestra, The Cleveland Orchestra, the Chicago Symphony Orchestra, the Royal Concertgebouw Orchestra, and the Rotterdam Philharmonic, Oslo Philharmonic and Israel Philharmonic orchestras. In 2014 he made his debut at Glyndebourne Festival Opera conducting Don Giovanni with the London Philharmonic Orchestra. In 2015 he made his debut at the Salzburg Festival followed by a re-invitation for 2016 with Il templario. In April 2017 he made his debut with the Berlin Philharmonic Orchestra. Recent CDs released on Pentatone are generating a great deal of attention and include Stravinsky’s The Rite of Spring and Richard Strauss’s Ein Heldenleben and Macbeth, both with the Frankfurt Radio Symphony Orchestra. Andrés has also recorded Dvořák’s Symphonies Nos. 6–9 with the Houston Symphony. Andrés Orozco-Estrada began his musical studies on the violin and had his first conducting lessons at the age of 15. In 1997 he moved to Vienna, where he studied at the renowned Vienna Music Academy and completed his degree with distinction by conducting the Vienna Radio Symphony Orchestra at the Musikverein. He currently lives in Vienna.

Peter Donohoe piano

I cannot imagine a living pianist capable of improving upon Donohoe’s outstanding artistry.

Robert Matthew-Walker, Musical Opinion

Peter Donohoe was born in Manchester in 1953. He studied at Chetham’s School of Music, Leeds University, the Royal Northern College of Music and then in Paris with Olivier Messiaen and Yvonne Loriod. He is acclaimed as one of the foremost pianists of our time for his musicianship, stylistic versatility and commanding technique. In recent seasons Peter Donohoe has appeared with the Dresden Philharmonic Orchestra, BBC Philharmonic and Concert orchestras, Cape Town Philharmonic Orchestra, St Petersburg Philharmonia, RTÉ National Symphony Orchestra, Belarusian State Symphony Orchestra and City of Birmingham Symphony Orchestra. Other engagements have included performances of James MacMillan’s three piano concertos with the BBC Scottish Symphony Orchestra, a series of concerts for the Ravel and Rachmaninoff Festival at Bridgewater Hall, and numerous performances with The Orchestra of the Swan. Recent discs include Stravinsky’s music for solo piano and piano and orchestra with the Hong Kong Philharmonic; Shostakovich’s Piano Concertos and Sonatas with the Orchestra of the Swan; Shostakovich’s 24 Preludes and Fugues – which was described as ‘thoughtful and poignant’ by The Guardian; a disc of Scriabin Piano Sonatas which was hailed as ‘magnificent’ by The Sunday Times; a recording of Maliszewski’s Piano Concerto in B flat minor with the Royal Scottish National Orchestra conducted by Martin Yates; and three discs of Prokofiev piano sonatas. The first Prokofiev disc was described by Gramophone as ‘devastatingly effective’, declaring Donohoe to be ‘in his element’, and a review in Classical Notes identified Donohoe’s ‘remarkably sensitive approach

to even the most virtuosic of repertoire’. His second Prokofiev disc was given five stars by BBC Music Magazine, and the third disc was highly praised by The Times, The Birmingham Post and music critic and blogger Jessica Duchen. Peter Donohoe has performed with all the major London orchestras, as well as orchestras from across the world including the Royal Concertgebouw, Leipzig Gewandhaus, Munich Philharmonic, Swedish Radio, Vienna Symphony and Czech Philharmonic orchestras, and the Orchestre Philharmonique de Radio France. He appeared with the Berlin Philharmonic in Sir Simon Rattle’s opening concerts as Music Director. He made his 22nd appearance at the BBC Proms in 2012 and has appeared at many other festivals including six consecutive visits to the Edinburgh Festival, La Roque d’Anthéron in France, and the Ruhr and SchleswigHolstein festivals in Germany. His appearances in the United States have included the Los Angeles Philharmonic and the Boston, Chicago, Pittsburgh, Cleveland and Detroit symphony orchestras. Peter also performs numerous recitals internationally and continues working with his longstanding duo partner Martin Roscoe, as well as more recent collaborations with artists such as Raphael Wallfisch, Elizabeth Watts and Noriko Ogawa. He has worked with many of the world’s greatest conductors including Christoph Eschenbach, Neeme Järvi, Lorin Maazel, Kurt Masur, Andrew Davis, Yevgeny Svetlanov, Gustavo Dudamel, Robin Ticciati and Daniel Harding. Peter Donohoe is an honorary doctor of music at seven UK universities, and was awarded a CBE for services to classical music in the 2010 New Year’s Honours list.

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Programme notes

Speedread Two works from Stravinsky’s ‘neo-classical’ phase, when his music switched large orchestras and complex textures for leaner sounds and clearer forms inspired by the composers of the 18th century, lie at the heart of tonight’s concert: the ballet Apollon musagète is one of his most beautiful scores, the Capriccio for piano and orchestra one of his most

Igor Stravinsky 1882–1971

When he composed the ballet Apollon musagète in 1927–28, Stravinsky was almost a decade into his ‘neo-classical’ period, in which the colourful orchestral textures and conscious ‘barbarisms’ of The Rite of Spring had been supplanted by restrained and more objectively conceived forms with clearly defined instrumental textures partly inspired by the music of the Baroque and Classical eras. Yet even those familiar with his latest music – which included the coolly clear-cut wind textures of the Symphonies of Wind Instruments, the Octet and the Concerto for piano and wind instruments – must have been taken aback by this work, with its graceful lyricism and warmly harmonious string sonorities. This was hardly what was expected of the great giant of musical modernism! Perhaps Stravinsky found freedom in the fact that this was his first ballet not to have been composed for Diaghilev’s Ballets Russes company, and also his first commission from the USA. The Elizabeth Sprague Coolidge Foundation, a major benefactor of new music which commissioned numerous works on behalf of the Library of Congress, had requested a ballet on a subject of the composer’s own choosing, to be no longer than

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playful. They are interleaved with two works of the sort that could have inspired him: the Konzertstück by Weber, whom Stravinsky called a ‘prince of music’ and whose piano-writing he admired in particular; and the high-spirited Symphony No. 3 by the 18-yearold Schubert.

Apollon musagète Scene 1: Birth of Apollo – Scene 2: Apollo’s Variation – Pas d’action (Apollo and the Muses) – Calliope’s Variation – Polyhymnia’s Variation – Terpsichore’s Variation – Apollo’s Variation – Pas de deux (Apollo & Terpsichore) – Coda (Apollo and the Muses) – Apotheosis

30 minutes and requiring no more than six dancers. Stravinsky’s response was his first ever string orchestra score. The work takes as its subject the god Apollo, leader of the nine muses (the literal meaning of the ballet’s title) and embodiment of classical beauty and restraint. There is little by way of plot, only two ‘scenes’, a short first in which Apollo is born, and a longer second in which he dances with Calliope, Polyhymnia and Terpsichore (the muses of poetry, mime and dance respectively) before ascending with them to Parnassus. It is the kind of subject, concerned with creativity itself, that was popular with Baroque composers, and indeed Stravinsky seems at times to be making clear reference to the sounds and textures of 17th- and 18th-century music, for instance in the overture-like first scene, the Bach-like violin solo of Apollo’s first Variation, and the majestic string chords and twin solo violins of the second. Elsewhere, there are apparent fleeting and intermingling hints at more recent traditions, among them the French Romantic ballets of Delibes and Adam (Polyhymnia’s Variation, Pas de deux), 19th-century

operatic melody (Pas d’Action), and perhaps even popular light orchestral music (Coda). All, however, are skilfully melded in a score of affecting beauty, seriousness and (in spite of its unlikely mix) deep expressive integrity.

Carl Maria von Weber

Konzertstück in F minor for piano and orchestra, Op. 79 Peter Donohoe piano

1786–1826

Weber is rightly remembered today as one of the most influential figures in the formation of German Romantic opera, but less widely realised is his prominence as a pianist. In fact, with leading players such as Hummel, Moscheles, Kalkbrenner and Czerny, he was among those who in the period between the last of Beethoven’s concertos in 1811 and the first of Chopin’s in 1830 won a place for their instrument at the centre of public music-making. He had big hands, comfortably capable of stretching the interval of a 10th, but his piano-writing seems to have valued lyricism and feeling at least as much as virtuoso brilliance. According to his pupil Julius Benedict, Weber could produce ‘the most startling effects of sonority and possessed the power to elicit an almost vocal quality of tone where delicacy or deep expression were required’. The Konzertstück was premiered in Berlin in June 1821, although the first reference to it dates from six years earlier, when Weber announced in a letter to a friend that he had ‘an F minor Concerto planned’. His two earlier piano concertos (of 1810 and 1812 respectively) had both been in the three-movement format traditional for concertos, and at first that seems to have been his intention here too, since he gave its outline as

‘Allegro, Separation. Adagio, Lament. Finale, Profoundest pain, consolation, reunion, jubilation’. The hints at a programmatic thread are perhaps not the original impulse for the work – the reason for them, Weber said, was that ‘minor-key concertos seldom appear before the public without some creative idea’ – but they might explain why, when it eventually appeared, it had become a single-movement ‘concert-piece’ in several sections. Benedict heard Weber play the work through on the day he completed it, and later recalled him describing a synopsis in which a lady sits in a tower awaiting the return of her crusader-lover, becomes agitated at the thought of his possible death, hears his army returning, recognises him, and throws herself joyfully into his arms. These images may or may not be helpful in appreciating this work, but no less worthy of attention is the variety of tone and texture it achieves in a little over 15 minutes, successfully operating within a scheme consisting of a moodily Romantic Adagio, an animated Allegro which eventually falls silent before a solo bassoon leads to a jaunty march, and an exuberant bravura finale.

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

London Philharmonic Orchestra | 11

Programme notes continued

Igor Stravinsky

Capriccio for piano and orchestra Peter Donohoe piano 1 Presto – Doppio movimento – 2 Andante rapsodico – 3 Allegro capriccioso ma tempo giusto

Like Weber, Stravinsky is not a figure we now associate at first with the piano. Yet he always composed at the keyboard (calling it the ‘fulcrum’ of his discoveries), and until the mid-1930s often performed on it in concert, principally in his own works. And although both the Concerto for piano and wind instruments of 1924 and the Capriccio of 1929 were written as pieces for him to tour with as a performer at a time when he needed the money, the character of the piano and the idiosyncrasies of his relationship with it – he too had big hands – are what helped shape them. Not that he was immune to pianistic influence. The Capriccio was, he said, inspired by the sonatas of Weber, certain works of whose – the Konzertstück included – made him one of ‘the Beau Brummells of music’. Like the Konzertstück, the Capriccio was originally going to be called ‘concerto’ before the virtuoso baggage that implied perhaps caused him to reconsider. He thought for a while of titling it ‘Divertimento’ before learning that Prokofiev and Myaskovsky were planning works under that name, and only settled on the eventual title late on, borrowing from its definition by the 17th-century composer and theoretician Michael Praetorius as synonymous with the free-form ‘fantasia’. This, he said, ‘enabled me to develop my music by the juxtaposition of episodes of various kinds which follow one another and by their very nature give the piece that aspect of caprice from which it takes its name’. If that sounds a little wise after the event, it is perhaps significant that it was the brilliant Allegro capriccioso third movement that was the first to be composed. The Capriccio is certainly a warmer work than the earlier Concerto, which had featured no string instruments apart from double basses. Here the full strings return with the added colour option of a solo quartet, but the piece is also more light-hearted and relaxed, showing 12 | London Philharmonic Orchestra

the same sense of allusive fun as Apollon musagète and Stravinsky’s subsequent, Tchaikovsky-inspired ballet The Fairy’s Kiss. For much of the time the piano chatters away in quasi-mechanistic decoration of the more lyrical lines of strings and woodwind, though it is more prominent in the Bachian central movement, where its clusters and repeated notes evoke the sound of the cimbalom, the hammered string instrument characteristic of Hungarian village and restaurant bands.

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

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

Franz Schubert 1797–1828

Of Schubert’s seven completed symphonies, no fewer than six were written by the time he was 20. The First, and perhaps the Second, were written for the orchestra of the Vienna Stadkonvikt, the college where he was a student from 1808. Both, however, must subsequently have also formed part of the repertoire of the small semi-professional band which from around 1814 grew out of the Schubert family’s own private string quartet rehearsals, and for which the next four symphonies were written, starting with No. 3 in the spring and early summer of 1815. Unsurprisingly, Schubert’s early symphonies show the influence of the examples provided by other symphonies in these orchestras’ repertoires, among which those by Haydn and Mozart were especially cherished, as well as the first two symphonies of Beethoven. The Third Symphony displays its Haydnesque credentials in its structural layout, its handling of melodic material and its predominantly good humour, occasionally shaded by touches of deeper emotion. The spirit of Haydn is particularly strong in the first movement’s slow introduction, grand and proud at first but subsequently subsiding to the minor. When the main body of the movement follows it is a mixture of Rossini-like woodwind doodles and boldly striding string figures featuring the upward-rushing scales first heard in the introduction. Haydn’s manner – albeit with some characteristically Schubertian harmonic moves – also shapes the second movement, a gently padding Allegretto. Curiously, and despite its duple metre, this movement is nearer in character to a minuet than the actual Minuet which follows, which with its destabilising off-beat accents feels closer to a scherzo. With its wheeling momentum and rustic central Trio, this is perhaps the most authentically Schubertian (and Viennese) movement in the Symphony, though run a close second by the impetuous tarantella-style

Symphony No. 3 in D major, D200 1 2 3 4

Adagio maestoso – Allegro con brio Allegretto Menuetto & Trio: Vivace Presto vivace

finale, a good-humoured precursor of similar but more emotionally complex examples found in the last two string quartets. Programme notes © Lindsay Kemp

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. Stravinsky: Apollon musagète Chamber Orchestra of Europe | Alexander Janiczek (Linn Records) Weber: Konzertstück for piano and orchestra Peter Rösel | Dresden Staatskapelle Herbert Blomstedt (Berlin Classics) Stravinsky: Capriccio for piano and orchestra Jean-Efflam Bavouzet | São Paulo Symphony Orchestra Yan Pascal Tortelier (Chandos) Schubert: Symphony No. 3 Vienna Philharmonic | Carlos Kleiber (Deutsche Grammophon)

London Philharmonic Orchestra | 13

Next concerts at Southbank Centre’s Royal Festival Hall saturday 24 march 2018 | 7.30pm

wednesday 11 april 2018 | 7.30pm

Stravinsky Symphony of Psalms Stravinsky Violin Concerto Stravinsky Credo; Ave Maria; Pater Noster* Bernstein Chichester Psalms

Thomas Adès Suite from Powder Her Face (UK premiere) Gerald Barry Organ Concerto (London premiere)† Stravinsky Perséphone

Andrés Orozco-Estrada conductor *Neville Creed conductor Patricia Kopatchinskaja violin William Davies tenor London Philharmonic Choir

Thomas Adès conductor Thomas Trotter organ Toby Spence tenor London Philharmonic Choir Trinity Boys Choir Concert generously supported by Victoria Robey OBE. * Commissoned by the London Philharmonic Orchestra with the generous support of The Boltini Trust, Berliner Philharmoniker, Philadelphia Orchestra, Saint Louis Symphony Orchestra, Carnegie Hall and Danish National Symphony Orchestra. † Commissioned by City of Birmingham Symphony Orchestra, Southbank Centre, London, and Raidió Teilifís Éireann.

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

New CD release on the LPO Label Kurt Masur conducts Shostakovich’s Symphony No. 7 (‘Leningrad’) Shostakovich Symphony No. 7 (‘Leningrad’) Kurt Masur conductor London Philharmonic Orchestra LPO-0103 | £9.99 Recorded live at Southbank Centre’s Royal Festival Hall, London, on 13 December 2003.

Available now 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.

14 | London Philharmonic Orchestra

‘Masur and his outstanding players received rapturous applause from a packed RFH ... We are fortunate indeed that this concert was recorded.’ Musicweb International, December 2003

GeT

closer

2018/19 concerT season

aT souThbank cenTre’s royal FesTival hall

on sale now hiGhliGhTs include chanGinG Faces: sTravinsky’s Journey we continue our yearlong series, delving into the composer’s works from the 1940s onwards.

opera in concerT wagner’s Die Walküre and stravinsky’s The Rake’s Progress under vladimir Jurowski, and puccini’s first opera, Le Villi.

isle oF noises Throughout 2019 this year-long festival celebrates the music of britain, from purcell, through elgar, bax and walton, to the present day.

beeThoven piano concerTos The flamboyant young spanish pianist Javier perianes joins us for two evenings to perform beethoven’s complete piano concertos.

book now aT lpo.orG.uk or call 020 7840 4242 season discounTs oF up To 30% available

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

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 Querée 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 In memory of Miss Ann Marguerite Collins Alexander & Elena Djaparidze Mr & Mrs Philip Kan Mr & Mrs Makharinsky Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Dr James Huang Zheng (of Kingdom Music Education Group) Associates Steven M. Berzin Gabor Beyer Kay Bryan William & Alex de Winton HH Prince George-Constantin von Sachsen-Weimar Eisenach Virginia Gabbertas Hsiu Ling Lu Oleg & Natalya Pukhov George Ramishvili Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre Gilly de Varennes de Bueil Hamish & Sophie Forsyth

Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan Geoff & Meg Mann Tom & Phillis Sharpe Eric Tomsett The Viney Family Laurence Watt Guy & Utti Whittaker Silver Patrons Michael Allen Mrs Irina Gofman David Goldberg Mr Gavin Graham Mr Roger Greenwood Pehr G Gyllenhammar Catherine Høgel & Ben Mardle Matt Isaacs & Penny Jerram Rose & Dudley Leigh 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

18 | London Philharmonic Orchestra

Ignor & Lyuba Galkin Mr Daniel Goldstein Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home Mr Glenn Hurstfield Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein Mr Christopher Stewart 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 Ralph & Elizabeth Aldwinckle Roger & Clare Barron Mr Geoffrey Bateman David & Patricia Buck Dr Anthony Buckland Desmond & Ruth Cecil Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett

Mr Peter Cullum CBE Mr Timonthy Fancourt QC 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 Mr Christopher Querée Martin & Cheryl Southgate Matthew Stephenson & Roman Aristarkhov Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Mr John D Barnard Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger

Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney DBE Mr David Devons Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer Sabina Fatkullina Mrs Janet Flynn Christopher Fraser OBE Peter and Katie Gray 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 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 LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia)

HH Prince George-Constantin von Sachsen-Weimar Eisenach (Germany) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (China/Hong Kong) Hsiu Ling Lu (China/Shanghai) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen) 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 Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Bonhams 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 Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Boltini Trust Sir William Boreman’s Foundation 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 Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust 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 Ernst von Siemens Music 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