London Philharmonic Orchestra 25 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 Wednesday 25 October 2017 | 7.30pm Shostakovich Cello Concerto No. 1 in E flat, Op. 107 (28’) Pēteris Vasks Dona nobis pacem (14’) Interval (20’) Gregorian Chant Dies Irae (6’) Rachmaninoff Symphonic Dances, Op. 45* (35’)

Andrés Orozco-Estrada conductor István Várdai cello London Philharmonic Choir Artistic Director: Neville Creed

The Lay Vicars of Westminster Abbey Chorusmaster: James O’Donnell * In co-operation with the Serge Rachmaninoff Foundation.

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

Contents 2 Welcome Next concerts 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Andrés Orozco-Estrada 7 István Várdai 8 London Philharmonic Choir 9 Lay Vicars of Westminster Abbey 10 Programme notes 12 Dies Irae text and translation 15 Recommended recordings 17 Sound Futures donors 18 Supporters 20 LPO administration

Concert broadcast on Monday 6 November at 7.30pm by Radio 3 in Concert, and available for 30 days after broadcast via the Radio 3 website and the BBC iPlayer Radio app.

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.

Next concerts at Southbank Centre’s Royal Festival Hall

friday 27 October 2017 7.30pm Beethoven Piano Concerto No. 5 (Emperor) Shostakovich Symphony No. 7 (Leningrad) Andrés Orozco-Estrada conductor Inon Barnatan piano

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

Saturday 4 november 2017 7.30pm

We look forward to seeing you again soon.

Lawrence Renes conductor*

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

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

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.

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Bruckner Symphony No. 8 (Haas edition)

wednesday 8 november 2017 7.30pm Tchaikovsky 1812 Overture Schumann Violin Concerto Beethoven Symphony No. 3 (Eroica) Alain Altinoglu conductor Patricia Kopatchinskaja violin

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

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Vesselin Gellev Sub-Leader JiJi Lee Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Martin Höhmann Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Rebecca Shorrock Ioana Forna Joseph Devalle Miranda Allen Second Violins Tania Mazzetti Principal Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Robin Wilson Sioni Williams Harry Kerr John Dickinson Judith Choi-Castro Alberto Vidal Violas David Quiggle Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani

Laura Vallejo Naomi Holt Daniel Cornford Alistair Scahill Isabel Pereira Martin Fenn

Oboes Ian Hardwick* Principal Alice Munday

Cellos Kristina Blaumane Principal

Clarinets Peter Sparks Guest Principal Thomas Watmough

Chair supported by Bianca & Stuart Roden

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

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

Sue Sutherley Helen Rathbone Sibylle Hentschel Iain Ward Double Basses Kevin Rundell* Principal Sebastian Pennar George Peniston Laurence Lovelle Damián Rubido González Jakub Cywinski Jeremy Watt John Holt Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

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

David Whitehouse

Cor Anglais Patrick Flanaghan

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

Bass Clarinet Paul Richards Principal

Percussion Andrew Barclay* Principal

Alto Saxophone Kyle Horch

Chair supported by Andrew Davenport

Bassoons Jonathan Davies Principal Gareth Newman

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

Contrabassoon Simon Estell* Principal

Keith Millar Karen Hutt James Bower Giles Harrison

Horns David Pyatt* Principal

Harp Rachel Masters Principal

Chair supported by Sir Simon Robey

Piano Catherine Edwards

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

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

Anthony Cross

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

Piccolo Stewart McIlwham* Principal

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust • Dr Barry Grimaldi • Caroline, Jamie & Zander Sharp

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

Andrés Orozco-Estrada Principal Guest Conductor

Orozco-Estrada plunges in with a lean, period-conscious performance that holds the dark and light aspects of this dramma giocosa in perfect balance. His tempos are never extreme, and he draws playing of cultivated buoyancy from the LPO, tightening the dramatic screw to produce a gripping climax. © Martin Sigmund

The Telegraph, June 2014 (Don Giovanni at Glyndebourne)

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

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

István Várdai cello

His playing was commendable for its fluidity and virtuosity, distinguished by both a fleet-fingered lightness and a rich timbre. The New York Times, May 2014

31-year-old Hungarian cellist István Várdai has been honoured with several important international prizes. In 2008 he won the 63rd Geneva International Music Competition, and in 2007 he took Third Prize at the International Tchaikovsky Music Competition. In 2006 he was awarded the special prize in the Emanuel Feuermann Cello Competition at the Kronberg Academy and First Prize at the 13th International Brahms Competition in Austria. He has been winner of the David Popper International Music Competition three times (2000, 2003 and 2004). In 2012 he received the Prix Montblanc, awarded to the world’s most promising young musician, and in 2014 he won the prestigious ARD Cello Competition in Munich. Since his 1997 concert debut in The Hague, István Várdai has performed in New York, Washington, Vancouver, London, Paris, Prague, Vienna, Frankfurt, Munich, Geneva, Dublin, Moscow, St Petersburg, Florence, Tokyo and Beijing. In 2010 he made his debuts at Carnegie Hall and the Vienna Konzerthaus. He has appeared alongside world-famous musicians and orchestras such as András Schiff, Yuri Bashmet, Zoltán Kocsis, Gidon Kremer, Tabea Zimmermann, Jean-Efflam Bavouzet, Till Fellner, Shai Wosner, the St Petersburg Symphony Orchestra, the Mariinsky Theatre Orchestra, the Suisse Romande Orchestra, the Bavarian Radio Symphony Orchestra, the Geneva Chamber Orchestra and the American Symphony Orchestra.

István Várdai has been invited to appear at the Santander Festival, the Gergiev Festival in St Petersburg, the Casals Festival (Spain), the Festival of Radio France (Montpellier), the Bellerive Festival (Switzerland), the Schleswig-Holstein Music Festival, the Verbier Festival, the Flanders Festival, the Jerusalem Chamber Music Festival, the West Cork Chamber Music Festival, the Schwetzingen Festival and the Budapest Spring Festival. From 2004 István studied in the Class of Special Talents at the Liszt Academy in Budapest, and from 2005 at the Music Academy of Vienna. Between 2010 and 2013 he continued his studies at the Kronberg Academy in Germany and since 2013 has been a staff member there. István’s first CD, featuring Elgar’s Cello Concerto alongside works by Janáček and Prokofiev, was released in 2009 by Ysaÿe Records. In 2010 he recorded the Cello Concerto by Johann Baptist Wanhal. On a 2013 CD released on the Hännsler label he plays works by Mendelssohn, Martinů, Paganini, Beethoven and Popper. A recording of both versions of Tchaikovsky’s Rococo Variations was released in 2014, and his most recent CD, Singing Cello, on the Hungaroton label in 2015. Together with violinist Kristóf Baráti, István Várdai is Artistic Director of the Kaposfest International Chamber Music Festival in Hungary. He plays a Montagnana cello from 1720 and the legendary ‘Ex Du Pre-Harrell’ Stradivarius from 1673.

London Philharmonic Orchestra | 7

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

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

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Sopranos

Altos

Basses

Annette Argent Chris Banks Hilary Bates Sarah Bindon Catherine Boxall Vicky Brammall Carole Cameron Charlotte Cantrell Paula Chessell Emily Clarke Emma Craven Orlen Crawford Jenni Cresswell Antonia Davison Anna Fahey Kathryn Flood Rachel Gibbon Jane Goddard Rosemary Grigalis Nicola Hands Jane Hanson Rebecca Harries Sally Harrison Olivia Haslam Carolyn Hayman Lucie Holcova Joy Lee Clare Lovett Martha Macbean Janey Maxwell Meg McClure Katie Milton Harriet Murray Mariana Nina Kathryn O’Leary Linda Park Eloise Pedersen Marie Power Tanya Ravljen Stephanie Rawlins Danielle ReeceGreenhalgh Tania Stanier Susan Thomas Sarah Van Staveren Susan Watts

Christine Allison Phye Bell Sally Brien Shayanne Campbell Andrei Caracoti Noel Chow Sara de la Serna Andrea Easey Kathryn Gilfoy Bethea HansonJones Jessica Harvey Katherine Hodgkinson Andrea Lane Elaine Lewis Ethel Livermore Laetitia Malan Ian Maxwell Malvina Maysuradze Sophie Morrison Rachel Murray Angela Pascoe Anna Read Carolyn Saunders Rima Sereikiene Erica Tomlinson Susi Underwood Jenny Watson Emma Windle

Jonathon Bird Gordon BukyWebster Geoffrey Clare Phillip Dangerfield Marcus Daniels Paul Fincham Halldor Fossa Ian Frost Christopher Gadd Paul Gittens Christopher Harvey Nicholas HennellFoley Joseph Hewson Mark Hillier Stephen Hines David Hodgson Yaron Hollander Martin Hudson John Luff Christopher Mackay Luke Marriot John D Morris John G Morris Robert Northcott Jonathan Riley Edwin Smith Peter Sollich Philip Tait Peter Taylor Alexander Thomas Hin-Yan Wong Jair Wuilhoud

Tenors Jorge Aguilar David Aldred Geir Andreassen Tim Clark James Clarke Tom Dalglish Robert Geary Alan Glover Peter Goves Iain Handyside Stephen Hodges Patrick Hughes Stuart Irvine Keith Saunders Owen Toller Tony Wren

The Lay Vicars of Westminster Abbey

The Lay Vicars of Westminster Abbey are the adult singers who, along with the boy choristers, form the world-renowned Choir of Westminster Abbey. The Abbey Choir began life in the late 14th century when the Abbey was a Benedictine monastery, and it continues today to play a central role both in the daily choral services and in the many royal, state and national occasions that take place in the Abbey. Notable events in recent years have included the wedding of The Duke and Duchess of Cambridge in April 2011, seen by a worldwide television audience of over two billion people, and several broadcast services forming part of the national First World War Centenary commemorations. In addition to its responsibilities in Westminster, the Choir undertakes an extensive programme of broadcasts, recordings, concerts and tours, travelling in recent years to Australia, the Far East, the United States, Russia, Hungary, Italy and Spain. Closer to home, the Choir gives regular concerts in the Abbey and has appeared at many major festivals including the London Festival of Baroque Music and the BBC Proms. The Abbey Choir enjoys a successful recording partnership with the Hyperion label. Its critically acclaimed catalogue includes the complete Great Service by William Byrd, works by Elgar and Parry, Duruflé’s Requiem with Britten Sinfonia, a continuing series of music of the Tudor period (including discs of Christopher Tye and John Taverner), and, most recently, a collection of 20th-century English choral music by Finzi, Bax and Ireland. Many of the Lay Vicars are sought-after soloists and ensemble singers and all combine their work at the Abbey with a wide range of other performing activities.

James O’Donnell Chorusmaster James O’Donnell is Organist and Master of the Choristers of Westminster Abbey. Internationally recognised as a conductor and organ recitalist, he has performed all over the world. Recent engagements have included Poulenc’s Organ Concerto with the London Philharmonic Orchestra under Yannick Nézet-Séguin at Royal Festival Hall, released on CD on the LPO Live label (LPO-0081); a solo appearance at the BBC Proms; and concerts in the United States, Germany, Norway and The Netherlands. A junior exhibitioner at the Royal College of Music, James O’Donnell was Organ Scholar of Jesus College, Cambridge, and then Assistant Master of Music at Westminster Cathedral before being appointed Master of Music in 1988. Under his direction the Choir of Westminster Cathedral made many acclaimed recordings. Its Hyperion disc of masses by Frank Martin and Pizzetti (1998) was voted Gramophone Record of the Year, and the following year the Choir received a Royal Philharmonic Society Award – both unprecedented for a cathedral choir. In January 2000 James O’Donnell took up his present appointment at Westminster Abbey. In his role as Music Director and Principal Conductor, he directs the Abbey Choir in its wide range of performing activities and is responsible for the music at all the great services and occasions that take place in the Abbey. As soloist and director James O’Donnell works with many of Britain’s leading ensembles. He is Music Director of St James’ Baroque and appears regularly with the BBC Singers. He is Visiting Professor of Organ and Choral Conducting at the Royal Academy of Music and an Honorary Fellow of Jesus College, Cambridge. On 19 January 2018 James O’Donnell will return to the LPO at Royal Festival Hall as organ soloist in Bach’s Toccata and Fugue in D minor, Saint-Saëns’s Symphony No. 3 (Organ) and Jongen’s Symphonie Concertante.

The Lay Vicars of Westminster Abbey appear by kind permission of the Dean and Chapter of Westminster. London Philharmonic Orchestra | 9

Programme notes

Speedread ‘Sweet are the uses of adversity’, wrote Shakespeare. Nobody would wish to trivialise the dark experiences endured by Dmitri Shostakovich and Pēteris Vasks, who lived under Soviet rule but in different countries and at mostly different times. But both composers wrote music that continues to inspire because it was both honest and optimistic, even though the ratio of each of those sentiments differed considerably from composer to composer.

Dmitri Shostakovich 1906–75

Dmitri Shostakovich and his colleague Sergei Prokofiev weren’t best buddies. More significant than their frosty personal relationship, though, is the fact that they admired each other’s music. Shostakovich wrote the first of his cello concertos in 1959 as a direct response to Prokofiev’s own Symphony-Concerto of seven years earlier. Both pieces were premiered by the celebrated cellist Mstislav Rostropovich. The political situation in Russia was easing in the late 1950s following Stalin’s death. Shostakovich told journalists that in his Concerto he set out to capture something humorous, referring to the tread of the first movement as a ‘jocular march’. Still, the Concerto’s opening appears dark and pressurised. It might be heard as a reflection of one of Shostakovich’s sleepless nights, fraught with the prospect of arrest. In other ways, too, this is very personal music. The four-note motto that opens and dominates the first movement is Shostakovich’s musical spelling of his own initials: D-S-C-H (in German notation, D, E flat, C and B). These four notes are discussed, dissected and inverted 10 | London Philharmonic Orchestra

Sergei Rachmaninoff left Russia long before the Soviets took over. His exile broke his heart, and led him to muse on melancholia and, ultimately, death. But like countless composers before and after him, Rachmaninoff invited death into his music in the form of the Dies Irae plainsong theme. Only then could he prod, tease and ultimately come to terms with death with the help of his music – a pursuit that is, in fact, as old as music itself.

Cello Concerto No. 1 in E flat, Op. 107 István Várdai cello 1 2 3 4

Allegretto Moderato – Cadenza – Allegro con molto

with increasing vigour but with occasional introspection too. A curious secondary theme is introduced by a confident horn, and the whole is agitated by four thwacks on the timpani that heighten the intensity further still. In the second movement the soloist introduces a nomadic, chromatic melody (stepping through half notes as well as whole ones) which is heard against the clarinets, double basses and then the strings. Like its predecessor, this movement builds in intensity towards another timpani strike and then an uneasy finish in which the soloist’s bow skims the string to produce fragile ‘harmonic’ sounds (accompanied by the plinkplonk of the orchestra’s celeste). That gesture leads straight into the cadenza, the soloist’s inquisitive exploration of the themes introduced so far, and in turn into the final movement. Here Shostakovich uses the Georgian folksong ‘Suliko’ in his main tune, apparently one of Stalin’s favourites. But he hid it so skilfully that even Rostropovich had to have its presence pointed out to him.

Pēteris Vasks

Dona nobis pacem London Philharmonic Choir

born 1946

Pēteris Vasks was born into Soviet-occupied Latvia. He applied to study at the conservatoire in Riga, but was forbidden from taking up a place because the authorities had blacklisted his father, a Baptist minister. In the late 1980s, citizens from across the three Baltic States began a peaceful action against Soviet occupation that became known as the Singing Revolution. By 1991, they had literally sung their way to freedom. ‘Suffering is not a game or a fantasy to me’, Vasks has said; ‘I sit in the midst of it.’ The suffering he speaks of is that of economic turmoil and threatened identity – of a Latvia ‘drowning in alcoholism’ in the last years of Soviet rule. Vasks’s music is inseparable from the peculiar sound and experience of the Baltic region in the years before and after the turn of the century. That sound is wrapped up in the country’s singing tradition;

it speaks of a mournful but hopeful dignity in the face of pain, and has an umbilical spiritual feed. But in essence, Vasks’s music prophesises the ultimate victory of justice, truth and goodness. Dona nobis pacem was written in 1996 for the Latvian Radio Choir. The text consists of those three words from the Mass in Latin, ‘grant us peace’. ‘Only a few things can be expressed with its help’, Vasks has said of Latin, ‘but those are things that cannot be expressed by other languages.’ Vasks’s concentration on that text, a repeating recitation of it for voices and strings that itself tracks the three-tone downward tread of the Dies Irae theme, can be heard as an outraged cry for peace or as a fortifying endorsement of it. It is surely a peace as much political and environmental as spiritual.

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

JS Bach

CHRISTMAS ORATORIO Celebrate Christmas with Bach’s joyful Christmas Oratorio, conducted by Vladimir Jurowski Saturday 16 December 2017 | 7.30pm | Royal Festival Hall Vladimir Jurowski conductor | Maria Keohane soprano | Anke Vondung mezzo-soprano | Jeremy Ovenden tenor Stephan Loges bass-baritone | London Philharmonic Orchestra & Choir

Book now at lpo.org.uk or call 020 7840 4242

London Philharmonic Orchestra | 11

Programme notes continued

Gregorian Chant

Dies Irae The Lay Vicars of Westminster Abbey

The Dies Irae is an ancient text and an ancient tune. The text is attributed to various sources and tells, in Latin of trochaic metre, of the arrival of the ‘day of wrath that will dissolve the world in ashes’. It is a central part of the Roman Catholic Mass for the Dead, the Requiem. It also forms the basis of a Gregorian chant – a form of unaccompanied hymnody that matured in early monastic communities around the 13th century. These prescribed chants or ‘tones’ steered the earliest

harmonic music, often forming an anchor around which voices would weave.

Dies irae, dies illa, solvet saeculum in favilla, teste David cum Sibylla.

Day of wrath and doom impending, David’s word with Sibyl’s blending! Heaven and earth in ashes ending!

Quantus tremor est futurus, quando iudex est venturus, cuncta stricte discussurus!

O what fear man’s bosom rendeth When from heaven the Judge descendeth, On whose sentence all dependeth!

Tuba mirum spargens sonum per sepulcra regionum, coget omnes ante thronum.

Wondrous sound the trumpet flingeth, Through earth’s sepulchres it ringeth, All before the throne it bringeth.

Mors stupebit et natura, cum resurget creatura, iudicanti responsura.

Death is struck, and nature quaking, All creation is awaking, To its judge an answer making.

Liber scriptus proferetur, in quo totum continetur, unde mundus iudicetur.

Lo! the book exactly worded, Wherein all hath been recorded; Thence shall judgment be awarded.

Iudex ergo cum sedebit, quidquid latet apparebit: nil inultum remanebit.

When the Judge His seat attaineth, And each hidden deed arraigneth, Nothing unavenged remaineth.

Quid sum miser tunc dicturus? quem patronum rogaturus? cum vix iustus sit securus.

What shall I, frail man, be pleading? Who for me be interceding, When the just are mercy needing?

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Tonight we hear the plainsong Dies Irae unalloyed. But the distinctive and ominous shape of the theme has long fascinated composers, from Haydn (Symphony No. 103) to John Williams (his score for Star Wars), who often used it to directly reference death, dread and mortality.

Dies Irae text

Rex tremendae maiestatis, qui salvandos salvas gratis, salva me, fons pietatis.

King of majesty tremendous, Who dost free salvation send us, Fount of pity, then befriend us!

Recordare Iesu pie, quod sum causa tuae viae: ne me perdas illa die.

Think, kind Jesu, my salvation Caused Thy wondrous Incarnation; Leave me not to reprobation.

Quaerens me, sedisti lassus: redemisti crucem passus: tantus labor non sit cassus.

Faint and weary Thou hast sought me, On the Cross of suffering bought me; Shall such grace be vainly brought me?

Iuste iudex ultionis, donum fac remissionis, ante diem rationis.

Righteous Judge! for sinâ&#x20AC;&#x2122;s pollution Grant Thy gift of absolution, Ere that day of retribution.

Ingemisco, tamquam reus: culpa rubet vultus meus: supplicanti parce Deus.

Guilty, now I pour my moaning, All my shame with anguish owning; Spare, O God, Thy suppliant groaning!

Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.

Through the sinful woman shriven, Through the dying thief forgiven, Thou to me a hope hast given.

Preces meae non sunt dignae: sed tu bonus fac benigne, ne perenni cremer igne.

Worthless are my prayers and sighing, Yet, good Lord, in grace complying, Rescue me from fires undying.

Inter oves locum praesta, et ab haedis me sequestra, statuens in parte dextera.

With Thy favoured sheep O place me, Nor among the goats abase me, But to Thy right hand upraise me.

Confutatis maledictis, flammis acribus addictis. voca me cum benedictis.

While the wicked are confounded, Doomed to flames of woe unbounded, Call me with thy saints surrounded.

Oro supplex et acclinis, cor contritum quasi cinis: gere curam mei finis.

Low I kneel, with heart submission, Crushed to ashes in contrition; Help me in my last condition!

Lacrimosa dies illa, qua resurget ex favilla. iudicandus homo reus: huic ergo parce Deus.

Ah! that day of tears and mourning! From the dust of earth returning, Man for judgment must prepare him; Spare, O God, in mercy spare him!

Pie Iesu Domine, dona eis requiem. Amen.

Lord all-pitying, Jesu Blest, Grant them Thine eternal rest. Amen

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Programme notes continued

Serge Rachmaninoff

Symphonic Dances, Op. 45 1 Non Allegro 2 Andante con moto (tempo di valse) 3 Lento assai

1873–1943

The Dies Irae threads its own ominous way through Serge Rachmaninoff’s career, cropping up in his symphonies, in his devilish Rhapsody on a Theme of Paganini, and in his last major work: the Symphonic Dances. The 1917 Revolution turned Russian society on its head. Rachmaninoff, steeped in the aristocratic tradition, had little choice but to leave. He never recovered emotionally from the upheaval of his self-imposed exile, which induced melancholic feelings in the composer (and his music) for the rest of his life. The trajectory of his career didn’t help. In 1939, he left Europe for good and settled in Long Island, USA. Despite being a known figure in America, Rachmaninoff could only pull the crowds as a pianist and started to compose less and less. While practising for a recital tour in August 1940, however, Rachmaninoff felt a piece forming under his fingers. He wrote to the conductor of The Philadelphia Orchestra, Eugene Ormandy: ‘Last week I finished a new symphonic piece, which I naturally want to give first to you and your orchestra. It’s called Fantastic Dances.’ The composer’s biographer Viktor Seroff tells that Rachmaninoff conceived the work’s three movements as representing ‘midday, twilight and midnight’ – the three stages of human life. When the piece was first performed on 3 January 1941, its title had changed to Symphonic Dances and the time-of-day titles had disappeared. There are a few impulses at work in the piece. Most important is that of the dance. The choreographer Michel Fokine was among the Russian expatriate community in Long Island and had agreed to choreograph the piece before his untimely death. Another impetus is faith. ‘I thank thee, Lord’, wrote

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Rachmaninoff at the end of the score, just after quoting the ‘Alleluia’ passage from his own choral work in the Russian Orthodox tradition, the All Night Vigil. That is surely connected to Rachmaninoff’s increasing awareness of his own mortality, which might explain the score’s use of the Dies Irae theme and its stocktaking references to works from Rachmaninoff’s own catalogue. But another vital impulse, perhaps even the reason Rachmaninoff decided to take up his pen again, was the new music coming from the likes of Schoenberg and Stravinsky. Rachmaninoff doesn’t borrow stylistic tools from either in his Symphonic Dances, but the sense of sentimentality found in much of his previous music has gone. Muscularity, directness and even austerity take its place. The first dance is a good example. After the gruff string chords that follow the ticking opening, we hear a despondent, three-note descending motif that becomes the germ of the whole piece. Even the singing secondary theme, introduced by an alto saxophone, has an ‘uncharacteristic coolness’, in the words of one critic. Eventually, underneath glistening glockenspiel and flutes, Rachmaninoff quotes a theme from his First Symphony, the badly received piece he had destroyed and presumed would never be known (he was wrong: somebody squirrelled away a copy). The second movement is a waltz; not a sugary Viennese whirl but a nocturnal, melancholy dance that grows in anxiety towards something oppressive. But the final dance is not really a dance at all. When the music musters devilish rhythmic energy following its sighing opening, we hear the Dies Irae theme picked out on bells. Rachmaninoff’s orchestration is extraordinary: monolithically deep but full of wicked surface detail. The composer might appear defiant, not least in quoting his own music. But his energetic, terrifying yet faintly

enjoyable dance with the Dies Irae theme suggests he knew what was coming. He was dead less than three years later. Programme notes © Andrew Mellor

PLAYER’S PERSPECTIVE Symphonic Dances is a challenging piece, but the writing really showcases the woodwind (especially the oboe section!) right from the opening bar. I like hearing the different soloists within the Orchestra being featured for a while before someone else takes the spotlight. There are so many different colours and moods conjured up in this piece and it always transports me in my head to faraway lands. Alice Munday, oboe

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. Shostakovich: Cello Concerto No. 1 Truls Mørk | London Philharmonic Orchestra | Mariss Jansons (Virgin Classics) or Mstislav Rostropovich | The Philadelphia Orchestra | Eugene Ormandy (Sony) Pēteris Vasks: Dona nobis pacem Latvian Radio Chorus | Sinfonietta Riga (Ondine) Rachmaninoff: Symphonic Dances London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0004: see below)

Rachmaninoff’s Symphonic Dances on the LPO Label Rachmaninoff The Isle of the Dead Symphonic Dances Vladimir Jurowski conductor London Philharmonic Orchestra LPO-0004 | £9.99

‘The playing is deliciously dank and rich, with surging energy.’ The Scotsman

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

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Restoring Rachmaninoff â&#x20AC;&#x2122;s Life and Art

Revolution and War have scattered the artifacts documenting Sergei Rachmaninoff â&#x20AC;&#x2122;s Life and Art all over the world. In order to enable thorough, pioneering research, the Rachmaninoff Network has launched an ambitious, worldwide initiative to bring together, link and digitally restore all traces of his life - such as letters, photos, films and manuscripts - in a single database documenting the man, the artist and his life work. Learn how you can support this groundbreaking initiative! Visit http://www.rachmaninoff.org/news facebook.com/rachmaninoffnetwork email: support@rachmaninoff.org

In partnership with the Serge Rachmaninoff Foundation The Rachmaninoff Network is an official charity registered under Dutch law nr. 852690460

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

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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

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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