London Philharmonic Orchestra 23 Feb 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 Friday 23 February 2018 | 7.30pm

Stravinsky The Song of the Nightingale (20’) Elgar Cello Concerto in E minor, Op. 85 (26’) Interval (20’) Rimsky-Korsakov Scheherazade, Op. 35 (47’)

Vasily Petrenko conductor Andreas Brantelid cello This evening’s concert is generously supported by Bonhams.

Free pre-concert performance 6.15–6.45pm | Royal Festival Hall The LPO’s relationship with the Royal College of Music continues with students joining members of the LPO and its Foyle Future Firsts programme in a talk and performance of Stravinsky’s Les Noces conducted by Vasily Petrenko.

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

Contents 2 Welcome 2018/19 season: on sale now 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Changing Faces: Stravinsky’s Journey 8 Vasily Petrenko 9 Andreas Brantelid 10 Programme notes 13 Recommended recordings 14 Next concerts 16 LPO 2017/18 Annual Appeal 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

LPO 2018/19 season

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 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.

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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The 2018/19 LPO season is now on sale! Browse and book online at lpo.org.uk or call us on 020 7840 4200 to request a season brochure by post. Highlights of the new season include: Changing Faces: Stravinsky’s Journey We continue our year-long series, delving into some of the composer’s pioneering and provocative works from the 1940s onwards. We pay tribute to his extraordinary legacy, focusing particularly on the latter stages of his life in exile in Hollywood. Isle of Noises During 2019 we celebrate the music of Britain in this year-long festival. Not only will we explore a range of British music from Purcell, through Elgar, Bax and Walton to the present day, but we’ll also highlight key works by composers with interesting British connections, including music by Handel and Haydn. Opera in concert We are delighted to bring a variety of opera to the Royal Festival Hall concert platform next season: Vladimir Jurowski conducts Stravinsky’s The Rake’s Progress and, following the success of Das Rheingold last month, brings us the second instalment of our Ring Cycle – Die Walküre. We also welcome acclaimed tenor Juan Diego Flórez for an evening of popular operatic arias, and are pleased to welcome back Opera Rara to jointly present Puccini’s first opera, Le Villi. New music Premieres of works by some of today’s most exciting living composers including Magnus Lindberg, Pascal Dusapin, Arne Gieshoff, Erkki-Sven Tüür, Helen Grime and Anders Hillborg. Complete Beethoven Piano Concertos The flamboyant young Spanish pianist Javier Perianes joins us for two evenings in February 2019 to perform Beethoven’s complete Piano Concertos. FUNharmonics In October the Orchestra presents the animated film and live orchestral soundtrack to Julia Donaldson’s acclaimed picture book The Highway Rat, suitable for all the family. Browse the full season at lpo.org.uk/newseason

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Philippe Honoré Catherine Craig Thomas Eisner Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Grace Lee Rebecca Shorrock Morane Cohen-Lamberger Joana Valentinaviciute Jonathan Lee Amelia Conway-Jones Rasa Zukauskaite Austeja Juskaityte Second Violins Tristan Gurney Guest Principal Tania Mazzetti Co-Principal Kate Birchall Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Robin Wilson Harry Kerr Sheila Law Georgina Leo Judith Choi-Castro Alison Strange John Dickinson Jamie Hutchinson Lasma Taimina

Violas David Quiggle Principal Katharine Leek Susanne Martens Benedetto Pollani Alistair Scahill Stanislav Popov Linda Kidwell Daisy Spiers Julia Kornig Charles Cross Cristina Gestido Martin Fenn Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall David Lale Elisabeth Wiklander Sue Sutherley Susanna Riddell Sibylle Hentschel George Hoult Jane Lindsay Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal George Peniston Damián Rubido González Lowri Morgan Laura Murphy Charlotte Kerbegian John Holt Flutes Juliette Bausor Principal Hannah Grayson Stewart McIlwham*

Piccolos Stewart McIlwham* Principal Hannah Grayson

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

David Whitehouse

Oboes John Anderson Guest Principal Alice Munday

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal

Cor Anglais Sue Böhling* Principal

Timpani William Lockhart Guest Principal

Chair supported by Dr Barry Grimaldi

Clarinets Thomas Watmough Principal James Maltby Charys Green

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal Chair supported by Friends of the Orchestra

E flat Clarinet Charys Green

Keith Millar Jeremy Cornes Karen Hutt

Bassoons Simon Estell* Principal Emma Harding

Harps Rachel Masters Principal Lucy Haslar

Horns David Pyatt* Principal Chair supported by Sir Simon Robey

Martin Hobbs Mark Vines Co-Principal Jonathan Quaintrell-Evans Stephen Nicholls Trumpets Paul Beniston* Principal James Fountain Guest Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Piano Catherine Edwards Celeste John Alley * Holds a professorial appointment in London

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 • Sonja Drexler • Victoria Robey OBE • Eric Tomsett • Laurence Watt

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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 ran

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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 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 100 releases available on CD and to download. Recent additions include Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski; and Mozart and Rachmaninoff piano concertos performed by Aldo Ciccolini, again under Nézet-Séguin.

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 new 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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Vasily Petrenko conductor

Other Russian conductors have given us valuable perspectives on Elgar: Yevgeny Svetlanov and Gennady Rozhdestvensky in particular. But this is more than that ... The lasting impression is of a conductor with an intelligent, informed but deep love of this music. © Mark McNulty

BBC Music Magazine

Vasily Petrenko was born in 1976 and studied at the St Petersburg Conservatoire. Following success in a number of international conducting competitions, he was appointed Chief Conductor of the St Petersburg State Academic Symphony Orchestra from 2004–07. Vasily Petrenko is Chief Conductor of the Oslo Philharmonic Orchestra (appointed in 2013/14), Chief Conductor of the Royal Liverpool Philharmonic Orchestra (a position he adopted in 2009 as a continuation of his period as Principal Conductor, which commenced in 2006), Chief Conductor of the European Union Youth Orchestra (since 2015) and Principal Guest Conductor of the State Academic Symphony Orchestra of Russia (since 2016). He has also served as Principal Conductor of the National Youth Orchestra of Great Britain from 2009–13, and Principal Guest Conductor of the Mikhailovsky Theatre. In December 2017 Petrenko conducted the London Philharmonic Orchestra on a major tour of China. He has worked with many other prestigious orchestras including the Berlin Philharmonic, London Symphony Orchestra, Philharmonia Orchestra, Russian National Orchestra, Orchestre national de France, Czech Philharmonic Orchestra, Finnish Radio Symphony, NHK Symphony Tokyo and Sydney Symphony. He has appeared at the Edinburgh Festival with the Oslo Philharmonic, and the Grafenegg Festival with the European Union Youth Orchestra and the State Academic Symphony of Russia, and made frequent appearances at the BBC Proms. Recent years have seen a series of highly successful North American debuts including The Philadelphia Orchestra, The Cleveland Orchestra, the Los Angeles Philharmonic, and the San Francisco, Boston, Chicago and Montreal symphony orchestras.

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Equally at home in the opera house, Petrenko made his debuts in 2010 at Glyndebourne Festival Opera (Macbeth) and the Opéra de Paris (Eugene Onegin), and in recent seasons has conducted The Queen of Spades at Hamburg State Opera; Boris Godunov at the National Reisopera; Eugene Onegin, La bohème and Carmen at the Mikhailovsky Theatre; Carmen and Lady Macbeth of Mtsensk at Zurich Opera; Tosca, Falstaff and Parsifal with the Royal Liverpool Philharmonic Orchestra; and The Flying Dutchman with the Oslo Philharmonic and at the Mikhailovsky Theatre. 2016 saw a highly successful debut at the Bayerische Staatsoper with Boris Godunov. Vasily Petrenko has established a strong profile as a recording artist. His Shostakovich symphony cycle with the Royal Liverpool Philharmonic Orchestra garnered worldwide acclaim, and 2016 saw the release of the complete Tchaikovsky symphonies. With the Oslo Philharmonic Orchestra he has released the Shostakovich cello concertos with Truls Mørk, the Szymanowski violin concertos with Baiba Skride, and the first two instalments in a cycle of Scriabin symphonies, and in autumn 2016 Lawo Classics released Prokofiev’s complete ballet Romeo and Juliet. In 2017 Vasily Petrenko was named Artist of the Year at the annual Gramophone Awards (ten years after receiving the Young Artist of the Year Award), and in 2010 he won Male Artist of the Year at the Classical BRIT Awards. He is only the second person to have been awarded Honorary Doctorates by both the University of Liverpool and Liverpool Hope University, and an Honorary Fellowship of Liverpool John Moores University, awards that recognise the immense impact he has had on the Royal Liverpool Philharmonic Orchestra and the city’s cultural scene.

Andreas Brantelid cello

Brantelid illuminated Elgar’s Cello Concerto with all the impetuousness and energy of youth … The Adagio was as poignant as any, subtle in its dynamic swells and phrasing, while Brantelid positively teased his way into the final Allegro molto, with its often edgy and unpredictable mood swings. The New Zealand Herald

Andreas Brantelid was born in Copenhagen in 1987 to Swedish/Danish parents. He made his solo debut at the age of 14 in a performance of Elgar’s Cello Concerto with the Royal Danish Orchestra in Copenhagen. Today he is one of Scandinavia’s most sought-after artists, winning worldwide critical acclaim for his thoughtprovoking interpretations, uniquely colourful sound and engaging personality. In December 2017 Andreas embarked on an extensive tour of China with the London Philharmonic Orchestra and conductor Vasily Petrenko, performing the Elgar Concerto and Tchaikovsky’s Rococo Variations. Other recent orchestral engagements include appearances with the City of Birmingham Symphony, BBC Symphony and BBC Philharmonic orchestras; the TonhalleOrchester Zurich, the Mahler Chamber Orchestra, the Brussels Philharmonic, the Yomiuri Nippon Symphony in Japan, the Netherlands Radio Philharmonic, the Seattle Symphony, the Frankfurt Radio Symphony Orchestra, the Leipzig Radio Symphony, the Hamburger Symphoniker, the Orchestre des Champs-Élysées, the Scottish Chamber Orchestra and the Munich Chamber Orchestra, as well as all the major orchestras in the Nordic countries. He has worked with many distinguished conductors including Andris Nelsons, Esa-Pekka Salonen, Philippe Herreweghe, Thomas Dausgaard, Pablo Heras-Casado, Andrew Manze, Sakari Oramo, Jukka-Pekka Saraste, Robin Ticciati and Heinrich Schiff. The 2017/18 season sees Andreas’s solo debuts with the NDR Elbphilharmonie Orchestra, the Orchestre de la Suisse Romande, the Stuttgart Radio Symphony, the Berlin Radio Symphony, the Rotterdam Philharmonic Orchestra, the Bamberger Symphoniker, the

Kammerakademie Potsdam, the Dusseldorf Symphony Orchestra, the Presidential Symphony Orchestra in Turkey and the Iceland Philharmonic, as well as reinvitations to Dublin’s RTÉ Symphony and the Danish National Symphony, Gävle Symphony, Aarhus Symphony and Aalborg Symphony orchestras. Chamber music performances will take him to the Beethovenfest Bonn, BOZAR in Brussels, the Bergen Festival and BR-Klassik Radio in Munich, among others. He will also perform Beethoven’s complete cello sonatas with Norwegian pianist Christian Ihle Hadland. Andreas’s debut disc, of the Tchaikovsky, Schumann and Saint-Saëns cello concertos with the Danish National Symphony Orchestra, was released by EMI in 2008, followed by a disc of Chopin’s chamber music including the Cello Sonata (2010), and an Encores disc (2012). A recording of Grieg’s complete works for cello and piano was released by BIS in 2015, followed by Fauré’s complete works for cello and piano in 2016. Andreas won First Prizes in the 2006 Eurovison Young Musicians Competition and the 2007 International Paulo Cello Competition and subsequently received awards and fellowships including a Borletti-Buitoni Trust Fellowship in 2008. He was a BBC New Generation Artist from 2008–11 and an ECHO ‘Rising Star’ in the 2008/09 season. In 2015 he received the Carl Nielsen Prize in Copenhagen. Andreas Brantelid plays the 1707 ‘Boni-Hegar’ Stradivarius, made available to him by the generous support of Norwegian art collector Christen Sveaas. He lives with his wife and two daughters in Nærum near Copenhagen.

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Programme notes

Speedread Two fabulously imaginative Russian fairytales begin and end tonight’s concert. Stravinsky’s Hans Christian Andersen-based The Song of the Nightingale is a riot of musical chinoiserie, depicting the luxurious extravagance of the fictional Emperor of China with a brilliance Stravinsky himself rarely equalled. But the ending, when the Emperor is saved from death by the nightingale’s song, is strangely touching – the despot has found his heart. That also is the ultimate message of Rimsky-Korsakov’s ‘symphonic suite’ Scheherazade. The princess Scheherazade, a magically gifted storyteller, is wedded to the spectacularly misogynistic Sultan Shakriar, who has vowed to execute every woman he takes to wife. Scheherazade hooks him in with artful cliffhanger stories, until he falls completely under her spell and relents. Rimsky-Korsakov’s Scheherazade depicts four of her

Igor Stravinsky

stories, clothed in vivid 19th-century exotic colours, ending with a warmly knowing depiction of the girl victorious, the tyrant tamed. Between these two stunning musical extravaganzas comes Elgar’s great artistic swansong, his Cello Concerto. In part a lament for the ‘glad confident’ Edwardian England that made him as man and artist, and which died along with millions of its young men in the First World War, it also seems to herald Elgar’s own creative decline – the loss of his wife the following year was his own artistic death-blow. Yet there is also so much life, love, even playfulness in this music. And what wonderful writing for the cello – Elgar seems to have penetrated to the instrument’s very soul. No wonder this Concerto is loved by cellists and audiences the world over.

The Song of the Nightingale

1882–1971

In 1908 Stravinsky began work on an opera based on Hans Christian Andersen’s story The Emperor and the Nightingale, in an effort (as he later put it) to recapture the ‘lost beauty’ of the fairytale world he had known as a child. He managed to complete the first of the three planned acts, but then in 1909 came the biggest break of his career: the invitation to write a ballet on the Russian legend of the magical Firebird for Diaghilev’s Ballets Russes in Paris. The premiere of The Firebird in 1910 transformed this little-known young Russian composer into an international star, and set his imagination working in bold new directions. When he came back to the Andersen project in 1913, Stravinsky realised he couldn’t continue in his old, 10 | London Philharmonic Orchestra

pre-Firebird style, and the resulting opera, The Nightingale, is a strange, not-quite marriage of Stravinsky ‘before’ and ‘after’ – which is probably why it has never become a repertoire piece. But when Diaghilev suggested Stravinsky make a ballet from the Nightingale music, the composer leapt at the chance to salvage some of the best music from the second and third acts. The result was a dazzling, spellbinding, ultimately strangely moving ‘symphonic poem’, The Song of the Nightingale (1917). The work falls into three parts, though these are continuous, so the scenes flow into one another. First, ‘The Fête in the Emperor of China’s Palace’ depicts

lavish celebrations as the nightingale, whose singing so enchanted the Emperor, is brought in triumph to the Palace and placed on a golden perch – a solo flute evokes his song. Next, ‘The Two Nightingales’ depicts the arrival of the nightingale’s rival, a clockwork singing bird whose song (oboe, with weird mechanical effects) distracts the Emperor. The nightingale escapes, and is reunited with his old friend the fisherman, who sings

with joy (trumpet, with strings and harps). Finally, in ‘Illness and Recovery of the Emperor of China’, the Emperor sickens, and Death appears to claim him (bass strings and harps with ominous horns). But the real nightingale is heard singing again. Death relents and the Emperor recovers, and the fisherman sings his song of quiet joy for the last time.

Edward Elgar

Cello Concerto in E minor, Op. 85

1857–1934

The Cello Concerto (1918–19) was the last major work Elgar completed. The following year his wife Alice died, and without her support and encouragement Elgar fell into creative decline for the best part of a decade. Although Alice Elgar was still alive at the time the Cello Concerto was written, the work has a poignantly elegiac quality. In many ways, it is closer to the spirit of the three chamber works Elgar also wrote during 1918–19 – the Violin Sonata, String Quartet and Piano Quintet – than to any of his previous orchestral masterworks. Like them, the Cello Concerto seems to be haunted by a sense of something either lost or about to be lost. Could it be that Elgar had intuited that his own creative end was near? At the same time, like many of his contemporaries Elgar had come to realise that the catastrophe of the First World War had brought to an end what he had called the ‘glad confident morning’ of the Edwardian era – the age that had seen his rise to international fame and the production of most of his finest works. A feeling of grief – of a pain greater than bittersweet nostalgia – is particularly strong in the cadenza-like slow section near the end of the Concerto. Yet for all this, Elgar’s Cello Concerto is no unrelieved lament. The four movements contain a wide range of moods and colours. The solo cello part in particular is beautifully conceived for the instrument, bringing out its dancing agility and warm singing tone so

Andreas Brantelid cello 1 2 3 4

Adagio – Moderato Lento – Allegro molto Adagio – Allegro – Moderato – Allegro, ma non troppo

effectively that it has become a firm favourite with cellists the world over. The very opening is glorious cello writing: three sonorous full chords followed by a poignant recitative, ending in a ringing fortissimo on the cello’s bottom string. Violas then begin the Moderato main movement with a wistful, wandering theme, unaccompanied. A lilting second theme brings warmer visions, then the main Moderato theme returns, building as before to a full-orchestral climax, before the cello leads the music back to a sombre E minor. The cello now strums the three chords from the opening of the Concerto, pizzicato: for a moment or two this seems like a desolate ending, but it is in fact a new beginning. After a few hesitant, broken phrases, the cello suddenly springs out of the starting gate like a greyhound. Before long this racing, playful Scherzo seems to recapture something of the younger Elgar’s glad confidence. The slow movement is an exquisitely tender aria for cello and reduced orchestra, sometimes lyrically flowing, sometimes seeming to catch its breath. Eventually the cello’s singing seems to falter midphrase, and then the finale begins, brisk and martial. Has the Elgar of the ‘Pomp and Circumstance’ marches found his stride again? But in time the music subsides into a slower, heart-rending outpouring, led by the Continued overleaf London Philharmonic Orchestra | 11

Programme notes continued

cello, culminating in a hushed reminiscence of the slow movement. At last the three chords from the Concerto’s opening return. The martial music resumes, but only briefly, bringing the Concerto to a stoically resolute, firmly minor-key ending.

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

Nikolai Rimsky-Korsakov 1844–1908

These days, Rimsky-Korsakov tends to be labelled as a Russian nationalist: a prominent member of the so-called ‘Russian Five’, or ‘Mighty Handful’, as the hugely influential critic Vladimir Stasov famously dubbed them. But in the late 1880s he began to look more widely for inspiration – to the dismay of some of his friends. An encounter with Wagner’s operas left a deep impression, and around the same time he began to look to other cultures for inspiration – one important result was the Capriccio Espagnol (‘Spanish Caprice’, 1887), soon followed by perhaps his most famous work, the ‘symphonic suite for orchestra’ Scheherazade (1888). The source was the famous collection of stories known as The Arabian Nights. In these we meet the Sultan Shakriar, one of literature’s most spectacular misogynists. Convinced of the falsity of all women, the Sultan vows to execute each one he takes to wife after their first night together. But the wily Scheherazade gets the better of him by telling him stories, each finishing on an enticing cliffhanger. Gradually the Sultan’s heart melts, and he renounces his vow. Rimsky-Korsakov later insisted that he never intended to set himself up as a musical Scheherazade, a weaver of enticing musical narratives. ‘All I had desired was 12 | London Philharmonic Orchestra

Scheherazade, Op. 35 1 2 3 4

The Sea and Sinbad’s Ship The Tale of the Kalender Prince The Young Prince and the Young Princess Festival in Baghdad; The Sea; The Ship goes to pieces on a rock surmounted by a Bronze Warrior; Conclusion

that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairytale wonders and not merely four pieces played one after the other and composed on themes common to all the four movements.’ All the same, the temptation to match his musical ideas and developments with characters and storylines in the Arabian Nights has proved too strong for most commentators. Surely the stern opening theme, enhanced by bass brass, must depict the Sultan, while the soaring solo violin and harp idea that follows has to be Scheherazade herself, weaving her poetic spell as she sets the scene for her first tale. But this still leaves the listener plenty of room for interpretation. The swirling string figures in the first movement, through which the first theme majestically sounds, vividly evoke Sinbad’s ship ploughing through the waves. But the theme itself is the same idea that’s supposed to represent the Sultan. The connection is – as the composer himself said – ‘symphonic’. Having set our imaginations working, Rimsky is happy to leave the rest of the work to us: to imagine the characters and backdrops as we choose. The same is true with the

heroic adventures of ‘The Tale of the Kalender Prince’, while any pair of star-crossed lovers will do for ‘Young Prince and Young Princess’ – though the 19th-century ‘oriental’ atmosphere is unmistakable. It’s possible to follow Rimsky’s detailed synopsis stage-by-stage in the finale (with a loud gong-stroke indicating the moment when the ship crashes into the rock), or simply to treat it as a wonderfully colourful and dramatic symphonic summing-up. At the end, though, the symbolism is unmistakable: Scheherazade’s free-floating solo violin and the Sultan’s stern opening theme (cellos and basses) are combined in harmony. Then, in a touch modern audiences will no doubt particularly appreciate, the last word is left to Scheherazade herself. Programme notes © Stephen Johnson

Recommended recordings of tonight’s works Stravinsky: The Song of the Nightingale London Symphony Orchestra | Antal Doráti (Mercury) Elgar: Cello Concerto Jacqueline du Pré | London Symphony Orchestra Sir John Barbirolli (Warner) or Paul Tortelier | London Philharmonic Orchestra Sir Adrian Boult (Warner) Rimsky-Korsakov: Scheherazade London Philharmonic Orchestra | Mariss Jansons (Warner) or Royal Philharmonic Orchestra | Sir Thomas Beecham (Warner)

StravinSky’S Journey

AT THE ROYAL COLLEGE OF MUSIC 7.30pm | 27 February 2018

renard Concerto for piano and wind instruments Symphonies of wind instruments Mavra Singers from Moscow Tchaikovsky Conservatory join the RCM Symphony Orchestra under the baton of Martyn Brabbins. tickets: £10, £15 rCM Box office 020 7591 4314 | www.rcm.ac.uk/events

London Philharmonic Orchestra | 13

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

wednesday 28 february 2018 saturday 3 march 2018 7.30pm 7.30pm

saturday 17 march 2018 7.30pm

Stravinsky Pulcinella (Suite) Tchaikovsky Violin Concerto Ravel Daphnis et Chloé (Suites Nos. 1 & 2)

Tchaikovsky (arr. Stravinsky) Sleeping Beauty (excerpts) Tchaikovsky Piano Concerto No. 1 Stravinsky The Fairy’s Kiss

Elgar In the South R Strauss Four Last Songs Brahms Symphony No. 2 Sir Antonio Pappano conductor Diana Damrau soprano

Vasily Petrenko conductor Sergej Krylov violin

Vladimir Jurowski conductor Daniil Trifonov piano

Concert generously supported by Sir Simon and Lady Robey

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

14 | London Philharmonic Orchestra

MUSIC, MAGIC AND FLIGHT: Alexander Golovin’s Designs for the Lost Production of Igor Stravinsky’s Le Rossignol EXHIBITION 24 May - 6 June Bonhams, 101 New Bond Street London W1S 1SR ALEXANDER GOLOVIN (1863 - 1930) Costume design for the Emperor from Stravinsky’s opera Le Rossignol Watercolour and ink on paper ENTRIES NOW INVITED The Russian Sale Wednesday 6 June London, New Bond Street ENQUIRIES +44 (0) 20 7468 8338 daria.khristova@bonhams.com

www.bonhams.com/russian

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.

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

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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 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 Ignor & Lyuba Galkin Mr Daniel Goldstein Mrs Dorothy Hambleton

18 | London Philharmonic Orchestra

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 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) 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 Anthony 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