London Philharmonic Orchestra 21 Oct 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 21 October 2017 | 7.30pm

Beethoven Piano Concerto No. 3 in C minor, Op. 37 (34’) Interval (20’) Rossini Stabat Mater (62’)

Carlos Miguel Prieto conductor* Hannes Minnaar piano Joyce El-Khoury soprano Anna Stéphany mezzo-soprano Kang Wang tenor* Michele Pertusi bass-baritone London Philharmonic Choir (Artistic Director: Neville Creed) * Please note a change of artist from previously advertised.

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

Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Carlos Miguel Prieto 7–9 Tonight’s soloists 10 London Philharmonic Choir 11 Programme notes 13 Recommended recordings 14 Text and translation 16 Next concerts 17 Sound Futures donors 18 Supporters 20 LPO administration

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Dr Stefano Castelvecchi looks at Rossini’s Stabat Mater in the context of the Belief and Beyond Belief festival.

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.

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

Celebrate Vladimir Jurowski’s 10th year as LPO Principal Conductor by joining us for this Golden Gala Evening at Royal Festival Hall. As well as standard concert tickets, we are offering special packages including pre- and post-concert receptions and the chance to meet the musicians who will bring Wagner’s great music drama to the stage.

lpo.org.uk/vj10

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. Generously supported by members of the Orchestra’s Ring Cycle Syndicate and patrons of our Golden Gala Evening.

2 | London Philharmonic Orchestra

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader 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 Yang Zhang Tina Gruenberg Rebecca Shorrock Non Peters Morane Cohen-Lamberger Second Violins Alison Kelly Guest Principal Helena Smart Nancy Elan Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Sioni Williams Harry Kerr Alison Strange John Dickinson Katie Harris

Violas David Quiggle Principal Susanne Martens Benedetto Pollani Laura Vallejo Daniel Cornford Alistair Scahill Martin Fenn Martin Wray Charles Cross Julia Kornig Cellos Pei-Jee Ng Principal Santiago Carvalho† Chair co-supported by Molly & David Borthwick

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

Sibylle Hentschel Philip Taylor Jane Lindsay Michael Wigram Double Basses Kevin Rundell* Principal Sebastian Pennar George Peniston Laurence Lovelle Jakub Cywinski Samuel Rice

Flutes Juliette Bausor Principal Hannah Grayson

Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

Richard Ward Oboes Ian Hardwick* Principal Alice Munday

Bass Trombone Lyndon Meredith Principal

Clarinets Thomas Watmough Principal Paul Richards

Tuba Lee Tsarmaklis* Principal

Bassoons Jonathan Davies Principal Simon Estell* Horns David Pyatt* Principal Chair supported by Sir Simon Robey

Martin Hobbs Mark Vines Co-Principal Chair supported by Laurence Watt

Timpani Simon Carrington* Principal

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Meet our members: lpo.org.uk/players

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

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: David & Yi Buckley • The Candide Trust • Andrew Davenport • Friends of the Orchestra • Dr Barry Grimaldi • Victoria Robey OBE • Bianca & Stuart Roden

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.

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 90 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.

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.

London Philharmonic Orchestra | 5

Carlos Miguel Prieto conductor

Prieto unleashed the NYO in a searing performance in which everyone gave their brilliant best. 

John Allison, The Telegraph, April 2017

Carlos Miguel Prieto is recognised as a highly influential cultural leader, as well as being the leading Mexican conductor of his generation, and has been Music Director of the Orquesta Sinfónica Nacional de México, the country’s most important orchestra, since 2007. The following year he was appointed Music Director of the Orquesta Sinfónica de Minería, a hand-picked orchestra that each summer performs a two-monthlong series of concerts in Mexico City. 2016/17 marked Prieto’s 11th season as Music Director of the Louisiana Philharmonic Orchestra, where he has led the cultural renewal of New Orleans following Hurricane Katrina and oversaw the triumphant return of the Orchestra to its home, the Orpheum Theater. Tonight’s concert is Carlos Miguel Prieto’s debut with the London Philharmonic Orchestra. Other engagements this season include appearances throughout Europe, North and South America and New Zealand. He returns to the NDR Elbphilharmonie, the Royal Liverpool Philharmonic Orchestra, the Bournemouth Symphony Orchestra, the Strasbourg Philharmonic and the Auckland Philharmonia. Further ahead he will return to the Hallé, the Frankfurt Radio Symphony Orchestra and the Royal Scottish National Orchestra, alongside his regular appearances in Spain conducting orchestras such as the RTVE Symphony Orchestra, the Bilbao Orkestra Sinfonikoa, the Orquesta de Valencia and the Orquesta del Principado de Asturias. In 2016/17 Prieto made his London conducting debut at the Barbican with the National Youth Orchestra of Great Britain, winning several five-star reviews. Since 2002, alongside Gustavo Dudamel he has conducted the Youth Orchestra of the Americas, which draws

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young musicians from the entire American continent. A staunch proponent of music education, he served as Principal Conductor of the YOA from its inception until 2011 when he was appointed Music Director. A naturally inquisitive musician of broad and varied interests, Prieto is renowned for championing Latin American music and has conducted over 100 world premieres of works by Mexican and American composers, many of which he personally commissioned. Prieto has an extensive discography: recent recordings include works by Bruch, Beethoven and Mendelssohn with violinist Philippe Quint and the Orquesta Sinfónica de Minería on Avanticlassic, and Korngold’s Violin Concerto on Naxos, which received two Grammy nominations. In spring 2013 Prieto released a 12-DVD set of live recordings of Mahler’s complete symphonies as part of the Orquesta Sinfónica de Minería’s 35th anniversary season. Future releases include recordings with Boris Giltburg for Naxos and with Ning Feng for Channel Classics. Also an accomplished violinist, Carlos Miguel Prieto has performed as soloist with the Orquesta Sinfónica Nacional de México, and has participated in the music festivals of Aspen, Tanglewood, Interlochen, San Miguel Allende and Cervantino. A graduate of Princeton and Harvard universities, Prieto studied conducting with Jorge Mester, Enrique Diemecke, Charles Bruck and Michael Jinbo.

carlosmiguelprieto.com

Hannes Minnaar piano

Every single performance by this pianist is out of the top drawer.

Jeremy Nicholas, Gramophone, January 2014

Hannes Minnaar received international acclaim after winning prizes at the Queen Elisabeth Competition (2010, Third Prize) and the Geneva International Music Competition (2008, Second Prize), and being awarded a Borletti-Buitoni Trust Fellowship (2011). He studied with Jan Wijn at the Amsterdam Conservatoire, graduating with the highest distinction, and took masterclasses with Menahem Pressler, Willem Brons and Ferenc Rados. In addition, he studied organ with Jacques van Oortmerssen. Tonight is Hannes Minnaar’s debut with the London Philharmonic Orchestra. He has appeared as soloist with various other orchestras including the Royal Concertgebouw Orchestra, and has worked with conductors including Marin Alsop, Jiří Bělohlávek, Herbert Blomstedt, Frans Brüggen, Eliahu Inbal, Edo de Waart and Xian Zhang. He gives recitals in many European countries and around the world. He has performed at the Royal Concertgebouw (Amsterdam), the Konzerthaus (Berlin), the Musashino Hall (Tokyo) and the Great Hall of the Tchaikovsky Conservatory (Moscow), and has been invited to the festivals of La Roque d’Anthéron, Bordeaux (Jacobins) and Guangzhou. Hannes Minnaar is also active as a chamber musician. As a member of the Van Baerle Trio he has won prizes at competitions in Lyon (2011, CIMCL, First Prize) and Munich (2013, ARD, Second Prize). In 2014 the Trio gave 18 concerts in an international tour as part of the ‘Rising Stars’ series, including London’s Barbican, the Vienna Musikverein and the Cité de la Musique in Paris. Hannes has also performed with musicians such as Janine Jansen, Isabelle van Keulen and Mischa Maisky.

Hannes Minnaar’s three solo albums are highly acclaimed. His debut album, of works by Rachmaninoff and Ravel, was awarded an Edison Award, and Gramophone published a full-page feature. The same magazine wrote of his second album, Bach Inspirations: ‘After Minnaar’s debut disc, this makes two hits in a row.’ BBC Music Magazine selected it as ‘Instrumental Choice of the Month’ with five stars. Hannes’s third album, featuring music by Gabriel Fauré, received rave reviews from both national and international press. Gramophone wrote: ‘Minnaar’s identification with this unique realm of music is complete, and his deeply felt interpretations shine with clarity and infinite nuance.’ In 2016 Hannes Minnaar received the Nederlandse Muziekprijs (Dutch Music Award): the highest honour that can be bestowed by the Dutch Ministry of Education, Culture and Science on a musician working in the field of classical music. Hannes has recently recorded all Beethoven’s piano concertos for Challenge Classics. Recent and future concert highlights include Liszt’s Totentanz and a new concerto by Robert Zuidam with the Radio Philharmonic Orchestra under the baton of Markus Stenz, and a solo recital in the Meesterpianisten series in the Main Hall of the Concertgebouw.

hannesminnaar.com facebook.com/HannesMinnaarPianist @HannesMinnaar

London Philharmonic Orchestra | 7

Anna Stéphany

soprano

mezzo-soprano

Of Joyce El-Khoury’s performance as Violetta (La traviata) in her recent Royal Opera House debut, The Independent wrote: ‘Her pianissimi are exquisite, her coloratura is bold, fearless and flawless, and the expressiveness of her sound grips the heart.’ Embracing her gift for bel canto repertoire, last month she released her debut solo album, Écho, with maestro Carlo Rizzi and the Hallé on the Opera Rara label.

Anglo-French mezzo-soprano Anna Stéphany was born in the north-east of England and studied at the Guildhall School of Music & Drama – where she was a recipient of the Gold Medal – and the National Opera Studio. Anna represented England at the 2009 BBC Cardiff Singer of the World and is a Kathleen Ferrier Award winner.

After a Glyndebourne Festival debut in August 2017 (Violetta in La traviata with the London Philharmonic Orchestra), followed by opening the NDR Radio Orchestra’s season in Hannover, Joyce returned to the Royal Opera House stage as Musetta in La bohème. She will continue to explore new territory in 2017/18 including her role/company debut at the Theater St. Gallen, Switzerland (Imogene in Bellini’s Il pirata); a return engagement at the Opéra National de Bordeaux (again as Imogene); her debut at the Teatro Real Madrid (Musetta in La bohème); and a role creation in a never-heard-before Donizetti opera (Sylvia in L’ange de Nisida) at the Royal Opera House in collaboration with Opera Rara, who will record the work for international release. Last season Joyce El-Khoury made several major debuts: as well as at the Royal Opera House as Violetta, she appeared for the first time at the Opéra national de Bordeaux as Leila in The Pearl Fishers. She also made role and house debuts with Opera Philadelphia as Liù in Turandot, and as Salome in Massenet’s Hérodiade with Washington Concert Opera. Joyce El-Khoury’s discography includes two rare Donizetti operas (Les martyrs and Belisario) conducted by Sir Mark Elder on the Opera Rara label. Born in Lebanon and brought up in Canada, she has won First Prizes in many competitions including the Loren L. Zachary Competition, the Opera Index Competition, the George London Foundation and the Mario Lanza Vocal Competition. 8 | London Philharmonic Orchestra

Joyce El-Khoury

Anna was a member of the ensemble at the Opernhaus Zürich from 2012–15, where she made her debuts as Cherubino in Mozart’s The Marriage of Figaro and Dorabella in Così fan tutte. Most recently, Anna made her house debut at the 2017 Glyndebourne Festival reprising the role of Sesto in Mozart’s La clemenza di Tito to critical acclaim, later singing the role with the company at the 2017 BBC Proms. One of her most coveted roles is Octavian in Strauss’s Der Rosenkavalier; she made her role debut at the Bolshoi Theatre in 2011, reprising the role for the Royal Swedish Opera in 2015, and last season making her house debut in the same role at the Royal Opera House, Covent Garden. This season Anna returns to the Opernhaus Zürich to sing Idamante in Idomeneo, to the Bayersiche Staatsoper to reprise Dorabella in Così fan tutte, and in summer 2018 she will return to Glyndebourne as Sesto in Handel’s Giulio Cesare. On the concert platform Anna will sing Elijah with the Orquesta y Coro Nacionales de España, will join the BBC Symphony Orchestra for Alasdair Nicolson’s Shadows on the Wall (Five Hauntings) in its London premiere at the Barbican, and will open the Oxford Lieder Festival with a recital alongside pianist and festival director Sholto Kynoch.

Michele Pertusi

tenor

bass-baritone

Australian-Chinese tenor Kang Wang is a third-year member of the Lindemann Young Artist Development Program at New York’s Metropolitan Opera, where he made his house and role debut as Narraboth in Salome last season and sang the First Prisoner in Fidelio. In the 2017/18 season he will sing Mitrane in Semiramide at the Met, as well as cover Arturo in Lucia di Lammermoor and the tenor soloist in Verdi’s Requiem. In concert he will sing Mendelssohn’s Elijah with the San Antonio Symphony.

Michele Pertusi has performed in the world’s most important concert halls and opera houses, including the Royal Opera House, Covent Garden, the Opéra national de Paris, the Wiener Staatsoper, the Teatro alla Scala, New York’s Metropolitan Opera, the Teatro Real in Madrid, the Liceu in Barcelona, the Rossini Opera Festival in Pesaro, the Bayerische Staatsoper in Munich, the Deutsche Oper in Berlin, the Opernhaus Zürich, La Monnaie in Brussels, the Accademia Nazionale di Santa Cecilia in Rome and London’s Barbican.

Last season Kang Wang appeared with the Beijing Symphony Orchestra in Mahler’s Das Lied von der Erde, which the Kennedy Center subsequently presented in celebration of the Chinese New Year. He made his debut with the American Classical Orchestra in Beethoven’s Symphony No. 9 at David Geffen Hall, and participated in gala performances at Austin Lyric Opera. He also performed in Les Contes d’Hoffmann, Gianni Schicchi, The Rake’s Progress, La Tragédie de Carmen, L’elisir d’amore and La Sonnambula with the Lindemann Program and The Juilliard School conducted by James Levine. Kang was also a finalist in the 2017 Cardiff Singer of the World Competition. Forthcoming seasons include debuts with Welsh National Opera and Austin Lyric Opera. Originally from Harbin, China, Kang received an International Artist Diploma from the Royal Northern College of Music in the UK, and a Master of Music from the Queensland Conservatorium at Griffith University in Australia. Kang Wang appears by kind permission of The Metropolitan Opera Lindemann Young Artist Development Program.

Kang Wang

His repertoire includes leading roles in Mozart’s The Marriage of Figaro, Così fan tutte and Don Giovanni; Rossini’s La Cenerentola, Semiramide, Il turco in Italia, L’italiana in Algeri, Le siège de Corinthe and Guillaume Tell; Donizetti’s Anna Bolena, Lucrezia Borgia and Lucia di Lammermoor; Verdi’s Oberto, Conte di San Bonifaci, Attila, I Lombardi alla prima crociata and Falstaff; and symphonic works such as Rossini’s Stabat Mater and Petite messe solennelle, Mozart’s Requiem and Verdi’s Requiem. He has collaborated with such esteemed conductors as Vladimir Jurowski, Daniel Barenboim, Semyon Bychkov, Riccardo Chailly, the late Sir Colin Davis, Myung-Whun Chung, Daniele Gatti, James Levine, Zubin Mehta and Riccardo Muti. Recent appearances include I puritani at the Opernhaus Zürich; Norma in Savonlinna; Don Carlo at the Teatro Regio di Parma and at Opéra de Lyon; Don Pasquale and La Cenerentola at the Wiener Staatsoper; Ernani at the Opéra de Toulouse; and The Thieving Magpie at the Teatro alla Scala. Last season he also sang Verdi’s Requiem with the London Symphony Orchestra under Gianandrea Noseda at the Barbican; Schubert’s Mass No. 6 in E flat major in Bologna and Turin; and Mozart’s Requiem with the Filarmonica Toscanini in Parma. Later this season he will sing Raimondo Bidebent in Lucia di Lammermoor at the Royal Opera House, Covent Garden, and the title role in Don Pasquale at the Opéra national de Paris. London Philharmonic Orchestra | 9

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. Tonight the Choir is delighted to perform its first concert with the London Philharmonic Orchestra of the 2017/18 season. 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. In December 2017 the Choir will perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra both here in London and in 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 facebook.com/LondonPhilharmonicChoir twitter.com/lpchoir instagram.com/lpchoir

10 | London Philharmonic Orchestra

Sopranos Annette Argent Chris Banks Tessa Bartley Hilary Bates Agnes Bialecki Catherine Boxall Hannah Boyce Laura Buntine Cordelia Burch Carole Cameron Charlotte Cantrell Ella Cape-Davenhill Paula Chessell Millie Church Emily Clarke Jenna Clemence Jenni Cresswell Sarah Elizabeth Deane-Cutler Victoria Denard Jessica Dixon Lucy Doig Kathryn Flood Rachel Gibbon Jane Goddard Sofia GonzalesMorales Lydia Grant Rosemary Grigalis Nicola Hands Jane Hanson Catherine Harding Rebecca Harries Sally Harrison Olivia Haslam Carolyn Hayman Camille Hirons Lucie Holcova Liz Lawrence Joy Lee Clare Lovett Ilona Lynch Janey Maxwell Meg McClure Harriet Murray Mariana Nina Kathryn O’Leary Linda Park Marie Power Danielle ReeceGreenhalgh Victoria Smith Charlotte Stacey Tania Stanier Katie Stuffelbeam Susan Thomas Rachel Topham

Lydia Turner Sarah Van Staveren Susan Watts Joanna Webster Charlotte Wielgut Rochelle Williams Altos Christine Allison Susannah Bellingham Sally Brien Andrei Caracoti Isabelle Cheetham Noel Chow Liz Cole Sara de la Serna Andrea Easey Carmel Edmonds Sarah Finkemeyer Regina Frank Kathryn Gilfoy Bethea HansonJones Jessica Harvey Judy Jones Marissa Landy Andrea Lane Claire LawrenceSmales Ethel Livermore Lisa MacDonald Laetitia Malan Michelle Marple Ian Maxwell Malvina Maysuradze Caroline Morris Sophie Morrison Rachel Murray John Nolan Miranda Ommanney Angela Pascoe Sheila Rowland Carolyn Saunders Rima Sereikiene Jenny Watson Emma Windle Tenors David Aldred Geir Andreassen Frederick Fisher Peter Goves Iain Handyside Patrick Hughes Javier Ruiz Christopher Beynon James Clarke

Robert Geary Alan Glover Joshua Haley David Hoare Stephen Hodges Knut Olav Rygnestad Keith Saunders Jaka Škapin Basses Jonathon Bird Peter Blamire Gordon BukyWebster Julian Cassels-Brown Bill Cumber Phillip Dangerfield Marcus Daniels Thomas Fayle Paul Fincham Halldor Fossa Ian Frost Christopher Gadd Paul Gittens John Graham Christopher Harvey Nicholas HennellFoley Joseph Hewson Mark Hillier Stephen Hines David Hodgson Rylan Holey Yaron Hollander Martin Hudson Alan Jones John Luff Christopher Mackay John G Morris Luke Murphy Robert Northcott William Parsons Johannes Pieters Jonathan Riley Edwin Smith Philip Tait Alexander Thomas Trevor Watson Hin-Yan Wong John Wood

Programme notes

Speedread Some musicians change the world with lasting ideas that resonate far beyond creative endeavour. Others don’t. Tonight we hear from one of each. Ludwig van Beethoven falls into the former camp. Not only did he change the language of music, broadening its horizons in almost every way imaginable, he also captured the spirit of his age – a Europe in flux, filled with revolutionary zeal and social conscience. The Third Piano Concerto is one of the first pieces in which the composer starts to smash the rules. We hear the clipped, ordered politeness of Classicism giving way to something more strenuous, passionate and expressive.

Ludwig van Beethoven 1770–1827

As turning points go, this one was big. While some ideas in Beethoven’s Third Piano Concerto date from the late 1790s, the piece – completed in 1800 – is effectively his first large-scale orchestral creation of the 19th century. More significant than the calendar date, however, was the Concerto’s timing in the composer’s own life journey. Beethoven was at work on the piece as he began to realise that the problems with his hearing weren’t going to improve; that they were, in fact, likely to develop into complete deafness. That realisation had a cataclysmic effect on Beethoven as a person and shot entirely new sentiments and concepts into his music, starting with this piece. One of the most obvious implications of the composer-pianist’s impending deafness – one he knew about all too well – was his potential inability to perform and improvise on stage with an orchestra.

Gioacchino Rossini became the most popular composer in his lifetime, just after Beethoven died. Rossini’s aims were rather different, focused squarely on keeping his audiences (mostly in the opera house) entertained with music of craft, energy, wit, sparkle and heartfelt tenderness. All of those things, perhaps excluding wit, are found in one of the rare works Rossini didn’t write for the opera stage: his setting of a poem depicting the mother of Christ at the foot of the cross that bore her son, the Stabat Mater.

Piano Concerto No. 3 in C minor, Op. 37 Hannes Minnaar piano 1 Allegro con brio 2 Largo 3 Rondo: Allegro

The soloist’s part in the Third Concerto, therefore, is that bit more defined. The pianist takes on a noticeably more individual, imposing and energetic role. Cadenzas (the passages in which the soloist would traditionally improvise to demonstrate prowess) are written out in full: instructions for future pianists to obey to the letter long after Beethoven himself could no longer issue demonstration performances. The pianist’s more controlling role is also felt in the first movement’s coda, its ‘last word’. Here, Beethoven’s solo piano joins the orchestra, a strikingly presumptuous act with only one tentative precedent, in a concerto by Mozart. In fact, Mozart’s K491 Concerto looms over many aspects of Beethoven’s Third – its key, the first movement shape and the use of themes built on ‘thirds’, to name but a few. But the feelings of heroic conflict and tension in this piece are entirely new. London Philharmonic Orchestra | 11

Programme notes continued

In Beethoven’s Concerto, the piano initiates a standoff against the orchestra in a manner unusual even for this composer. Major keys tussle with minor ones throughout the opening Allegro. In the slow movement, Beethoven reaches for expressive tools that can only be described, in aesthetic terms, as Romantic. The key (E major) is radiant but, together with its G major successor, quite distant from the C minor ‘home’ key. Moreover, the meditative qualities of the movement’s main ideas conjure a picture of Beethoven clinging on dearly to the music’s

beauty as if he knew he’d soon not be able to hear at all. The composer does his listeners the service, though, of sending them out with a gregarious final movement. Impish and witty this may sound, but its main theme, stated initially by the piano and immediately thereafter by the oboe, clarinet and horn, actually stretches to a whole eight bars, making it the longest Beethoven used in any of his concertos. That feels appropriate for a concerto longer than any that had gone before it, one that unequivocally heralds one of music history’s most potent revolutions.

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

Gioacchino Rossini 1792–1868

1 Stabat mater 2 Cujus animam gementem 3 Quis est homo 4 Pro peccatis 5 Eja, Mater, fons amoris 6 Sancta Mater 7 Fac ut portem 8 Inflammatus et accensus 9 Quando corpus morietur 10 Amen The text and translation are overleaf.

12 | London Philharmonic Orchestra

Stabat Mater Joyce El-Khoury soprano Anna Stéphany mezzo-soprano Kang Wang tenor Michele Pertusi bass-baritone London Philharmonic Choir

Rossini never considered himself an adequate composer of sacred music. When the priest Fernández Varela suggested he write a Stabat Mater, those feelings were only exacerbated. Giovanni Pergolesi’s moving setting of the same verses was known and loved throughout Italy and beyond; surely, Rossini believed, he was setting himself up for comparison against Pergolesi and inevitable failure? But Rossini allowed himself to be persuaded. To a point, at least. Pressure from his patron Alexandre Aguado – a friend of Varela’s – saw the composer write six movements of a Stabat Mater (Nos. 1 and 5–9) in 1831–32. Then Rossini fell ill – or so he claimed – and successfully persuaded his colleague Giovanni Tadolini to contribute the remaining movements in time for a performance in Madrid on Good Friday 1833.

The hybrid Stabat Mater was a relative success. But eight years later, with Tadolini dead, the semi-retired Rossini started to believe he could make it even more so. Not just musically, but financially, too. The completion and publication of a solely authored version of the piece could prove lucrative, especially coming after a high-profile ‘second’ premiere. There followed a lengthy legal battle – you’re best spared the details – but Rossini emerged the victor and set about re-writing the Tadolini movements himself. The first performance of the ‘100% Rossini’ score took place in Paris in March 1842, conducted by an enthusiastic Gaetano Donizetti. Immediately, those lucky spectators at the Théâtre Italien were struck by how heartfelt the music appeared. Like countless composers before and after him, Rossini seems to have been stirred by Jacapone da Todi’s text, which portrays the mother of Christ at the foot of her crucified son’s cross. But while Rossini’s music felt expressive and vocally shapely to some, to others it was too excessively rhythmic and outspokenly operatic for its devotional subject matter. They condemned the piece as overly sensuous and disrespectfully playful. The German poet Heinrich Heine countered those critics, recognising the honesty of Rossini’s sentiments in the context of his other musical creations. Similarly, some have suggested the music be viewed as a devotion not only to Christ but to the essence of poetry and the superlative beauty of the human voice. There are, despite both arguments, striking examples of Rossini’s sacred music schooling in the Stabat Mater, not least its two unaccompanied movements, Eja, Mater and Quando corpus morietur. Here Rossini initiates the idea of the descending musical phrase (which becomes a touchstone of the whole work) and writes with shapely and plaintive qualities that sprang directly from his interest in pre-Classical church music, including that of his compatriot Palestrina. Not only that, the final movement also includes a mighty double fugue – just about the most scholarly and rigorous compositional exercise going, and one inextricably linked with sacred music thanks to Johann Sebastian Bach and others. Elsewhere the means and the mood are quite different, as Rossini engages with his texts in a more operatic manner with voice-led arias and duets infused with

emotion. The second movement, Cujus animan, has been plucked out and held up as the most profane movement in the piece, as it obviously affords plenty of room for vocal beauty to blossom over a lilting rhythm. Similarly, in the fire and brimstone of Inflammatus et accensus the music is driven purely by the drama of the text and the soloists’ contributions are characterised by it. For a true picture of Rossini the devotional composer, we’d do worse than return – as he himself does towards the work’s conclusion – to the opening bars. Here are the most enduring words of the Stabat Mater text and the composer’s most acute musical reflection of the piece’s sentiments. Pianissimo (‘very quiet’) bassoons and cellos outline an ascending minor third, but the phrase is pushed into an ambiguous diminished chord with the arrival of an F sharp. Reflective of the central theme of the poem – the paralytic grief of Mary – the music is left to hang, unsure of itself, both introspective and tragic. The feeling somehow comes to inhabit all the movements of the Stabat Mater, even at their most assured. In Heine’s words, ‘the sensation of the infinite hovers round, and encompasses the whole’. Programme notes © Andrew Mellor

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. Beethoven: Piano Concerto No. 3 in C minor, Op. 37 Alfred Brendel piano Bernard Haitink conductor London Philharmonic Orchestra (Phillips: available to stream only) or Rudolf Buchbinder piano/director Vienna Philharmonic (Sony) Rossini: Stabat Mater Antonio Pappano conductor Orchestra dell’Accademia Nazionale di Santa Cecilia (Warner) London Philharmonic Orchestra | 13

Rossini: Stabat Mater text

1 Stabat Mater Stabat mater dolorosa Juxta crucem lacrymosa Dum pendebat Filius.

The sorrowing mother stood weeping beside the cross where hung her son.

2 Cujus animam gementem Cujus animam gementem Contristatam et dolentem Pertransivit gladius.

Her groaning spirit, saddened and lamenting, A sword had pierced.

O quam tristis et afflicta Fuit illa benedicta Mater Unigeniti.

Oh how sad and afflicted was that blessed Mother of the Only-begotten.

Quae moerebat et dolebat Et tremebat dum videbat Nati poenas inclyti.

She mourned and sorrowed and trembled as she saw the sufferings of her glorious son.

3 Quis est homo Quis est homo qui non fleret Christi Matrem si videret In tanto supplicio?

Who is the man who would not weep if he saw the Mother of Christ In such distress?

Quis non posset contristari Piam Matrem contemplari Dolentem cum Filio?

Who could not sorrow contemplating the gentle Mother grieving with her son?

4 Pro peccatis Pro Peccatis suae gentis Vidit Jesum in tormentis Et flagellis subditum.

For the sins of His people She saw Jesus in torment and subjected to the scourge.

Vidit suum dulcem Natum Moriendo desolatum Dum emisit spiritum.

She saw her sweet Child dying in desolation as He gave up the spirit.

5 Eja, Mater, fons amoris Eja, Mater, fons amoris, Me sentire vim doloris Fac ut tecum lugeam.

Ah, Mother, fount of love, let me feel the force of grief that I may weep with Thee.

Fac ut ardeat cor meum In amando Christum Deum Ut sibi complaceam.

Make my heart blaze with love of Christ God that I may please Him.

14 | London Philharmonic Orchestra

6 Sancta Mater Sancta Mater, istud agas, Crucifixi fige plagas Corde meo valide.

Holy Mother, grant this, stamp the wounds of the Crucified firmly on my heart.

Tui Nati vulnerati, Tam dignati pro me pati, Poenas mecum divide.

Thy wounded Son, who deigned to suffer for me, share with me His sufferings.

Fac me vere tecum flere Crucifixio condolere Donec ego vixero

Make me truly weep with Thee grieve with Thee for the crucified as long as I live.

Juxta Crucem tecum stare Te libenter sociare In planctu desidero.

Beside the cross to stand with Thee to join Thee willingly in mourning I desire.

Virgo virginum praeclara, Mihi jam non sis amara, Fac me tecum plangere.

Virgin supreme among virgins, do not now be harsh to me, let me weep with Thee.

7 Fac ut portem Fac ut portem Christi mortem, Passionis fac consortem, Et Plagas recolere.

Grant I may bear Christâ&#x20AC;&#x2122;s death, grant me a share in His Passion, and remembrance of His wounds.

Fac me plagis vulnerary, Cruce hac inebriari Ob amorem Filii.

Let me be wounded with His wounds, by this cross be filled with love for Thy Son.

8 Inflammatus et accensus Inflammatus et accensus, Per te, Virgo, sim defensus In die judicii.

Inflamed and afire, through Thee, Virgin, let me be defended on the Day of Judgement.

Fac me cruce custodiri, Morte Christi praemuniri, Confoveri gratia.

Let me be guarded by the cross, protected by the death of Christ, sheltered by His grace.

9 Quando corpus morietur Quando corpus morietur, Fac ut animae donetur Paradisi Gloria.

When my body dies, grant that my spirit may be given the glory of Paradise.

10 Amen In sempiterna saecula. Amen.

World without end. Amen.

London Philharmonic Orchestra | 15

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

Wednesday 25 october 2017 7.30pm

friday 27 October 2017 7.30pm

Saturday 4 november 2017 7.30pm

Shostakovich Cello Concerto No. 1 Pēteris Vasks Dona nobis pacem Gregorian Chant Dies Irae Rachmaninoff Symphonic Dances*

Beethoven Piano Concerto No. 5 (Emperor) Shostakovich Symphony No. 7 (Leningrad)

Bruckner Symphony No. 8 (Haas edition)

Andrés Orozco-Estrada conductor István Várdai cello London Philharmonic Choir The Lay Vicars of Westminster Abbey

Andrés Orozco-Estrada conductor Inon Barnatan piano

*Please note a change to the conductor from previously advertised.

Lawrence Renes conductor*

*In co-operation with the Serge Rachmaninoff Foundation. The Lay Vicars of Westminster Abbey appear by kind permission of the Dean and Chapter of Westminster.

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

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 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 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 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 Mrs Philip Kan Rose & Dudley Leigh Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble

18 | London Philharmonic Orchestra

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 Mr Alan C Butler 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 Ralph Kanza 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 Fenchurch Advisory Partners Giberg Goldman Sachs Pictet Bank White & Case LLP Corporate Members Gold 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 ABO Trust 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 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 UK Friends of the FelixMendelssohn-BartholdyFoundation

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

London Philharmonic Orchestra | 19

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President 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

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education and Community Director

Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Project Manager