London Philharmonic Orchestra 26 Nov 2016 Brighton concert programme by London Philharmonic Orchestra

MUSIC IS OUR WORLD. WE WANT TO SHARE ITS ASTONISHING POWER AND WONDER WITH YOU in brighton. Concert programme Brighton Dome lpo.org.uk

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 Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Brighton Dome Concert Hall Saturday 26 November 2016 | 7.30pm Eastbourne Congress Theatre Sunday 27 November 2016 | 3.00pm

Glinka Waltz Fantasy (6’) Walton Cello Concerto (30’) Interval (20’) Tchaikovsky Symphony No. 4 in F minor, Op. 36 (44’)

Dima Slobodeniouk conductor Dane Johansen cello

The timings shown are not precise and are given only as a guide. CONCERTS PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH BRIGHTON DOME AND EASTBOURNE BOROUGH COUNCIL

Contents 2 Welcome 3 On stage 4 About the Orchestra 5 Leader: Vesselin Gellev 6 Dima Slobodeniouk 7 Dane Johansen 8 Programme notes 11 Next Brighton Dome concerts 12 Next Eastbourne concerts 13 Sound Futures donors 14 Supporters 16 LPO administration

Welcome

Saturday 26 November

Sunday 27 November

Brighton Dome

Congress Theatre, Eastbourne

Chief Executive Andrew Comben

Artistic Director Chris Jordan General Manager Gavin Davis

We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following: LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks. SMOKING Brighton Dome is a no-smoking venue. INTERVAL DRINKS may be ordered in advance at the bar to avoid queues. PHOTOGRAPHY is not allowed in the auditorium. RECORDING is not allowed in the auditorium. MOBILES, PAGERS AND WATCHES should be switched off before entering the auditorium. Thank you for your co-operation. The concert at Brighton Dome on 26 November 2016 is presented by the London Philharmonic Orchestra in association with Brighton Dome.

Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England. Brighton Dome is managed by Brighton Dome and Brighton Festival, which also runs the annual threeweek Brighton Festival in May. brightondome.org | brightonfestival.org

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Welcome to this afternoonâ&#x20AC;&#x2122;s performance by the London Philharmonic Orchestra. Please sit back and enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones and watch alarms are switched off during the performance. Thank you. We are excited to be hosting half of this season at the Congress Theatre and half at the Devonshire Park Theatre. It is a wonderful opportunity to introduce the London Philharmonic Orchestra to our atmospheric Victorian playhouse and a chance to experience its delightful acoustics. Weâ&#x20AC;&#x2122;ve worked closely with the Orchestra and its specialists to ensure the new venue enhances the orchestral sound and thank you, our audience, for continuing to support the concert series. We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email theatres@eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

On stage

First Violins Vesselin Gellev Leader Ilyoung Chae Chair supported by an anonymous donor

Katalin Varnagy Chair supported by Sonja Drexler

Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Grace Lee Rebecca Shorrock Molly Cockburn Caroline Frenkel Georgina Leo Galina Tanney Maeve Jenkinson Alice Cooper Hall Amelia Conway-Jones‡ Deborah Gruman‡ Second Violins Andrew Storey Principal Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Ashley Stevens John Dickinson Elizabeth Baldey Nicole Stokes Cathy Fox Nynke Hijlkema‡ Kate Cole‡

Violas Jon Thorne Guest Principal Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter Naomi Holt Martin Wray Cristina Gestido Stanislav Popov‡ Isabel Pereira‡ Cellos Morwenna Del Mar Guest Principal Gregory Walmsley Santiago Carvalho† Chair co-supported by Molly & David Borthwick

Jonathan Kitchen Katie Burke Matthew Forbes Iain Ward‡ Alex Barnes‡ Double Basses George Peniston Principal Lowri Morgan Jakub Cywinski Helen Rowlands Laurence Lovelle‡ Charlotte Kerbegian‡ Flutes Katie Bedford Guest Principal Suzie Watson

Piccolo Stewart McIlwham* Principal

Trombones Mark Templeton* Principal

Oboes Jennifer Brittlebank Guest Principal Rachel Harwood-White

David Whitehouse

Cor Anglais Sue Böhling* Principal

Tuba Lee Tsarmaklis* Principal

Chair supported by Dr Barry Grimaldi

Clarinets Thomas Watmough Principal Paul Richards Bass Clarinet Paul Richards Principal Bassoons Simon Estell* Principal Jacqueline Hayter Contrabassoon Jacqueline Hayter Horns Mark Vines Principal Martin Hobbs Stephen Nicholls Gareth Mollison Jonathan Eddie Trumpets Paul Beniston* Principal Anne McAneney*

Chair supported by William & Alex de Winton

Bass Trombone Lyndon Meredith Principal

Timpani Tom Lee Guest Principal Percussion Henry Baldwin Principal Keith Millar Richard Horne Feargus Brennan Harp Tamara Young Guest Principal Celeste Catherine Edwards

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco ‡ 26 November only Meet our members: lpo.org.uk/players

Chair supported by Geoff & Meg Mann

Jason Lewis

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at these concerts: Andrew Davenport • Drs Oliver & Asha Foster • Friends of the Orchestra • Simon Robey • Victoria Robey OBE • Bianca & Stuart Roden • Eric Tomsett • Laurence Watt • Neil Westreich

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

Everything about this performance ... was perfect ... one of the best pieces of orchestral playing I have heard in quite a long time. Seen and Heard international, February 2015

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. 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 currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2016 the LPO joined many of the UK’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400

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years since his death. In 2017 we will collaborate with Southbank Centre on Belief and Beyond Belief: a year-long multi-artform festival. Other 2016/17 season highlights include the return of Osmo Vänskä to conduct the Sibelius symphonies alongside major British concertos by Britten, Elgar, Walton and Vaughan Williams; Jurowski’s continuation of his Mahler and Brucker symphony cycles; landmark contemporary works by Steve Reich, Philip Glass, John Adams and Gavin Bryars; and premieres of new works by Aaron Jay Kernis and the Orchestra’s Composer in Residence Magnus Lindberg. 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: last season included visits to Mexico,

Vesselin Gellev leader

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download: recent additions include a disc of Stravinsky works with Vladimir Jurowski; Act 1 of Wagner’s Die Walküre with Klaus Tennstedt, and Beethoven’s Symphonies Nos. 1 and 4 with Kurt Masur. 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. 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 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.

Spain, Germany, the Canary Islands and Russia; and tours in 2016/17 include New York, Germany, Austria, Hungary, Spain, France, Belgium, The Netherlands and Switzerland.

Praised by the New York Times for his ‘warmth and virtuosic brilliance’, Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammynominated Absolute Ensemble. Prior to joining the LPO as Sub-Leader in 2007, Vesselin was Leader of the New Haven Symphony Orchestra in the USA and the Spoleto Festival Orchestra in Italy. He has also performed as Guest Leader with numerous orchestras in the UK and abroad including the Royal Philharmonic Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra, MDR Leipzig Radio Symphony Orchestra, Stavanger Symphony Orchestra and Accademia Nazionale di Santa Cecilia. Vesselin received Bachelor and Master of Music degrees from The Juilliard School, New York, as a student of Robert Mann. He has served on the violin and chamber music faculties of Cornell University in Ithaca, NY and the Eleazar de Carvalho Music Festival in Fortaleza, Brazil.

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Dima Slobodeniouk conductor

Full marks to Dima Slobodeniouk for putting all this music across with such power, intelligence and refinement.

BBC Music Magazine, September 2011

In September 2016 Dima Slobodeniouk took up his position as Principal Conductor of the Lahti Symphony Orchestra and Artistic Director of the Sibelius Festival. Lauded for his deeply informed and intelligent artistic leadership, Dima has also been Music Director of the Orquesta Sinfónica de Galicia since September 2013, a position he will combine with his new posts in Lahti. Linking his native Russian roots with his musical studies in Finland, he continues to draw on the powerful musical roots of these countries. Dima Slobodeniouk also continues to maintain a strong presence on concert podiums internationally. These two concerts in Brighton and Eastbourne mark his debut with the London Philharmonic Orchestra, and this season will also see him guest conduct the Orchestre National de France, Orchestre Philharmonique de Radio France, Baltimore Symphony, Warsaw Philharmonic and NFM Wrocław Philharmonic orchestras. He also returns to the SWR Stuttgart Symphony, Helsinki Philharmonic and Finnish Radio Symphony orchestras. He will work with Baiba Skride, Khatia Buniatishvili, Paul Lewis, Nikolai Lugansky and Yvgeny Sudbin, among others. Other soloists with whom he regularly works include Chloë Hanslip, Viktoria Mullova, Patricia Kopatchinskaja, Simon Trpčeski, Jean-Guihen Queryas and Kari Kriikku. Passionate about a vast range of repertoire, Dima conducts music ranging from Beethoven, Verdi, Mahler, Sibelius, Stravinsky and Scriabin to the modern works of John Corigiliano, Kaija Saariaho, Pierre Boulez and Väinö Raitio.

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Striving to inspire the young musicians of the future, Dima has worked with students at the Verbier Festival Academy over recent years and returned to the Festival in 2016. Last year he began a conducting initiative with the Orquesta Sinfónica de Galicia, providing an opportunity for students to work on the podium with a professional orchestra. 2015 saw the release of a CD of works by Lotta Wennäkoski with the Finnish Radio Symphony Orchestra on the Ondine label. Maintaining an active collaboration with BIS Records, Dima has recorded music by Finnish composer Sebastian Fagerlund with the Gothenburg Symphony Orchestra on the label. Moscow-born Dima studied violin at the Central Music School under Zinaida Gilels and J. Chugajev, continuing at the Conservatory’s Music Institute, the Middle Finland Conservatory and the Sibelius Academy under Olga Parhomenko. In 1994 he participated in conducting classes with Atso Almila. He continued his Sibelius Academy studies under the guidance of Leif Segerstam and Jorma Panula, and has also studied under Ilya Musin and Esa-Pekka Salonen.

Dane Johansen cello

It would be ungracious not to particularly draw attention to the extraordinary skill of cellist Dane Johansen.

The West Australian

American cellist Dane Johansen performs extensively throughout the world as a soloist and chamber musician. Praised for his ‘brave virtuosity’ and ‘staggering aplomb’ (The New York Times, New York Magazine), Dane made his debut at the Lincoln Center in 2008, performing Elliott Carter’s Cello Concerto with James Levine in celebration of the composer’s centennial. The first winner of The Juilliard’s Leo Ruiz Memorial Award, Dane made his Carnegie Hall debut in 2012, and in 2013, as winner of The Juilliard’s Sanders Prize, he performed Bloch’s Schelomo with the Jerusalem Symphony Orchestra in Israel. These two concerts mark Dane’s debut with the London Philharmonic Orchestra. Other forthcoming engagements include recitals in the USA and Europe. In March 2016 Dane was appointed a member of The Cleveland Orchestra’s cello section. A native of Fairbanks, Alaska, Dane studied at The Cleveland Institute of Music, the Conservatoire National Superieur de Paris and The Juilliard School. His mentors include Joel Krosnick, David Soyer, Richard Aaron and the Emerson String Quartet. Dane also had the privilege of studying privately with the legendary cellist Bernard Greenhouse during the last five years of his life, and draws tremendous inspiration from his lessons with János Starker. Dane is currently assistant to Joel Krosnick at The Juilliard School and teaches at Juilliard’s PreCollege. He plays a cello made for him by Stefan Valcuha.

the Chamber Music Society of the Lincoln Center and has performed at The Marlboro Music Festival, Bridgehampton Chamber Music Festival and Seattle Chamber Music Festival. 2011 saw Dane give the New York premiere of the Crouching Tiger Concerto with composer Tan Dun and the Metropolis Ensemble at the Lincoln Center Outdoor Festival for an audience of 4000. As the former cellist of the Escher String Quartet, Dane recorded for the Naxos and BIS labels. The quartet recorded for BBC Radio 3 in London as New Generation Artists, and performed regularly in New York as Artists of The Chamber Music Society of the Lincoln Center. In 2013 the Escher Quartet became one of the few ensembles to be awarded the prestigious Avery Fischer Career Grant. For many years, Dane has dedicated great energy to exploring and developing his performance of J.S. Bach’s Six Suites for Solo Cello. This led not only to a performance at Alice Tully Hall in 2010, but ultimately after years of dedicated preparation, to an unforgettable musical pilgrimage: in May 2014, he walked 500 miles along the Camino de Santiago in Northern Spain with his cello on his back, performing Bach’s Suites in 35 concerts along the way. The story of his adventure on the Camino with Bach has been made into a documentary film and was premiered at the 34th annual Vancouver International Film Festival in October. danejohansen.com

Dane has performed throughout the USA and Canada, and at numerous venues across Europe, China, Australia, Brazil and Mexico. Among others, he has collaborated with artists Pinchas Zukerman, David Shifrin, Richard Goode and Mitsuko Uchida. He is a regular Artist of

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Programme notes

Speedread The two framing figures of Russian 19th-century music bookend this concert. Glinka was the ‘father of Russian music’, the first to bring a Slavic flavour to the styles his country had imported from the ballrooms and salons of Italy, Germany, Austria and France; while Tchaikovsky was the great Romantic figure who successfully wedded Russian heart and soul to the

Mikhail Glinka

major instrumental forms of the central European tradition, such as the symphony and the concerto. In between comes Walton’s Cello Concerto, a relatively late work (coincidentally written for a Russian cellist) by a former enfant terrible who by his fifties had found himself comfortably at home in a richly crafted but highly personal Romantic lyricism.

Waltz Fantasy (1839)

1804–57

Though not as famous as later 19th-century Russian composers such as Tchaikovsky, Mussorgsky or Rimsky-Korsakov, Mikhail Glinka was one of the most influential figures in the music of his country. Raised in St Petersburg in a culture where Russian music was becoming increasingly Westernised, he was the first to find ways of successfully reintroducing elements of Russian indigenous music into his work, most notably in his two operas A Life for the Tsar and Ruslan and Lyudmila. Next to these, his Waltz Fantasy of 1839 may seem a more conventional thing, but there is nevertheless a touch of Russian poetry in it, and though essentially an organised string of waltz tunes in the manner of The Blue Danube, it could never be mistaken for a work by Strauss.

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The Waltz Fantasy was composed at a time when, with his marriage breaking down, Glinka had fallen in love with a woman named Ekaterina Kern, and the piece was a present to her. Though it was originally written for piano, Glinka may have had an orchestral version in mind from the start, as its title page mentions a performance only months after it had been composed, in an arrangement by Josef Hermann, conductor of a fashionable summer concert series in St Petersburg. Later Glinka made his own orchestration for a concert in Paris, where it was reviewed by Berlioz, who found it ‘full of spirit and exceedingly piquant rhythmic coquetteries which are really new and superbly developed ... this talent is very rare’. That orchestration, however, is lost, and the one we hear tonight is Glinka’s second, made in 1856.

William Walton 1902–83

Walton’s international reputation as a composer was made in the decade leading up to the start of the Second World War with the First Symphony, the oratorio Belshazzar’s Feast and the two concertos for viola and violin respectively, works which, though traditional in form, struck listeners as refreshingly radical. After the war his reputation dimmed as commentators began to accuse him of losing touch with the exciting modernity he had formerly seemed to embody, yet at heart Walton had always been an artist who primarily followed his own compositional instincts, one of which, he declared, was ‘a strong feeling for lyricism’. Time offers perspective, and where some commentators in the 1950s and 60s regretted a ‘creative relaxation’ and ‘lowering of tension’, others might now relish his maturing creative ease and technical refinement. Few compositions reflect this post-war period of serene craftsmanship more affectingly than the Cello Concerto. Composed in 1956, it was the first important work he produced following the lukewarm reception of his first opera Troilus and Cressida, and must indeed have seemed an old-fashioned work at a time when ‘modern’ might mean Messiaen, Stockhausen or Boulez, not lyrical Romanticism. Walton’s wife Susana apparently later claimed that the work was a celebration of their marriage, but while that may be so, in fact (and as was usually the case in Walton’s later career) it was the result of a commission, on this occasion from the great Russian cellist Gregor Piatigorsky. Piatigorsky premiered it with the Boston Symphony Orchestra under Charles Munch in January 1957, and was thrilled with it: ‘I can’t thank you enough for the wonderful concerto you gave to the world’, he wrote. ‘I will play [it with the] great love and admiration I have for it and you.’

Cello Concerto (1956) Dane Johansen cello 1 Moderato 2 Allegro appassionato 3 Tema ad improvvisazioni: Lento – Allegro molto

It is not hard to imagine it as a player’s dream. However modern it may or may not have seemed 60 years ago, there is no mistaking the touching poetic voice that speaks through it, established right at the opening where a brief, atmospherically scored oscillating figure from the orchestra quickly gives on to a tenderly meditative solo cello theme, which intertwines delicately with the woodwind. The form of the movement is loose, the skilfully drawn melodic lines apparently enough in themselves to help it find its way, though there are hints of sonata form in the return of the opening theme, as well as in the appearance of what seems like a formal ‘second theme’, richer and more expansive, and instigated by four gentle notes on solo horn. The second movement is the fastest of the three, a scherzo of recognisably Waltonian flavour and orchestral brilliance. The cello part is virtuosic, the music in general nervy, as if with a hint of the night; even when two slower episodes come to calm the mood, the solo role remains vulnerable to the jitters. The title of the finale reflects the fact that its solemn and stately slow theme is subjected to a process perhaps too free to be called variation. The dramatically contrasted ‘improvisations’ include two for solo cello and one for orchestra; after the second cello solo the music shifts unexpectedly to the mood of glinting tranquility in which the Concerto had begun. In a peaceful epilogue the first movement’s opening theme eventually reappears, along with that of the finale, to bring the work to a peaceful close.

Interval – 20 minutes An announcement will be made five minutes before the end of the interval. London Philharmonic Orchestra | 9

Programme notes continued

Pyotr Ilyich Tchaikovsky 1840–93

The years 1876 and 1877 were traumatic ones for Tchaikovsky. He was suffering increasingly from feelings of guilt over his homosexuality, and considerable mental torment from the fear of its discovery. As a result he underwent a personal crisis that eventually drove him not just to an ill-advised marriage to a young student (a disastrous affair which lasted only a few weeks in the summer of 1877), but also to nearmadness and a pitiable suicide attempt. Two orchestral works of this time clearly reflect Tchaikovsky’s disturbed state of mind. The first was the tone-poem Francesca da Rimini, composed in the autumn of 1876 and depicting the eternal damnation of Francesca and her lover Paolo, condemned in Dante’s Inferno to the second circle of Hell for their helpless but illicit passion. The second was the Fourth Symphony, composed the following year, which confronted another spectre that had been haunting Tchaikovsky: the destructive nature of Fate. The seeds may well have been sown by a performance of Carmen that the composer saw in Paris in early 1875, but they were undoubtedly brought to fruition by the harrowing events of the following two years. From these Tchaikovsky emerged with a stronger-than-ever conviction of the power of ‘the fateful force that prevents the impulse to happiness from achieving its goal ... which hangs over your head like the sword of Damocles’. Tchaikovsky wrote these words in a letter to his patroness, Nadezhda von Meck, to describe the stark motto theme that opens the Symphony. The letter goes on to outline for von Meck the feelings underlying the rest of the work, a useful guide to its comprehension even now, though only after it has been borne in mind that it was written after the music had been completed. Thus we learn that the oppressive waltz-tune that opens the fast section of the first movement signifies

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Symphony No. 4 in F minor, Op. 36 (1878) 1 2 3 4

Andante sostenuto — Moderato con anima Andantino in modo di canzona Scherzo (Pizzicato ostinato): Allegro Finale: Allegro con fuoco

resignation in the face of Fate’s supremacy, and the lilting second theme (announced on clarinet) the desire to ‘turn away from reality and submerge oneself in daydreams’. But though the music strives for happiness, it is Fate that gains the upper hand, with the motto theme returning to dominate the later stages of the movement. For Tchaikovsky the slow movement – with its haunting oboe melody – evoked ‘the melancholy feeling which comes in the evening when, weary from your labour, you are sitting alone. You take a book, but it falls from your hand. A whole host of memories comes ... It’s both sad, yet somehow sweet to immerse yourself in the past.’ The ensuing Scherzo depicts less clearly defined emotions: Tchaikovsky refers vaguely to ‘capricious arabesques’, ‘drunken peasants’ and ‘a military procession’, but in truth a programme is irrelevant in this orchestral tour-de-force in which three themes – for pizzicato strings, woodwind and brass respectively – are first alternated, then wittily combined. The Finale opens in a brilliant whirl of sounds which the sober Russian folk-tune ‘In the fields there stood a birch’ can only temporarily assuage. ‘If you find no reason for joy within yourself’, wrote Tchaikovsky, ‘go among the people. Observe how they can enjoy themselves, surrendering themselves wholeheartedly to joyful feelings.’ In the midst of the celebrations, however, the Fate theme from the first movement breaks in with an effect so devastating that the movement is brought to a standstill. But this time it cannot win. ‘You have only yourself to blame; do not say that everything in the world is sad. There are simple but strong joys’. The Symphony concludes in a blaze of glory, and the composer, for the time being at least, turns his back on Fate. Programme notes © Lindsay Kemp

Still to come this season at Brighton Dome Concert Hall ELGAR’S ENIGMA

Romantic classics

SATURDAY 11 MARCH 2017 7.30pm

SATURDAY 29 APRIL 2017 7.30pm

Dvořák Symphonic Variations Tchaikovsky Piano Concerto No. 1 Elgar Enigma Variations

Shostakovich Suite from the Incidental Music to Hamlet (excerpts) Rachmaninoff Piano Concerto No. 2 Tchaikovsky Symphony No. 6 (Pathétique)

Rory Macdonald conductor Igor Tchetuev piano

Joshua Weilerstein conductor Mark Bebbington piano

Book now brightondome.org 01273 709709

@LPOrchestra Great concert at #BrightonDome. Thanks for the amazing music. Audience member

Tickets £10–£27.50

Series discounts of up to 10% available

London Philharmonic Orchestra | 11

Still to come this season at Eastbourne Congress Theatre & Devonshire Park Theatre

BEETHOVEN'S FIFTH Sunday 4 DECEMBER 2016 3.00pm

ENCHANTMENT AND ROMANCE Sunday 12 MARCH 2017 3.00pm

Weber Overture, Der Freischütz Mozart Clarinet Concerto Beethoven Symphony No. 5

R Strauss Sextet from Capriccio Mozart Clarinet Quintet Mendelssohn Octet

Michael Seal conductor Raphaël Sévère clarinet

Soloists of the London Philharmonic Orchestra

THE FOUR SEASONS Sunday 5 FEBRUARY 2017 3.00pm

TRAGEDY TO JOY Sunday 23 APRIL 2017 3.00pm

J S Bach Brandenburg Concerto No. 3 J S Bach Concerto for Two Violins Vivaldi The Four Seasons

Brahms Horn Trio Schubert Piano Quintet in A major (‘Trout’)

Pieter Schoeman violin Andrew Storey violin

Soloists of the London Philharmonic Orchestra

CONGRESS THEATRE

DEVONSHIRE PARK THEATRE

fantastic performance tonight @LPOrchestra ... moved me to tears #uplifTing Audience member

DEVONSHIRE PARK THEATRE

Book now eastbournetheatres.co.uk 01323 412000 Tickets £13–£29

Series discounts of up to 15% available

12 | London Philharmonic Orchestra

Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno de Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International 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 Lady Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra | 13

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 Natalia Semenova & Dimitri Gourji The Tsukanov Family Principal Associates An anonymous donor Mr Peter Cullum CBE Dr Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Neil Westreich Associates Simon Robey Stuart & Bianca Roden Barry Grimaldi William & Alex de Winton Gold Patrons An anonymous donor Mrs Evzen Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Georgy Djaparidze Sonja Drexler Mrs Gillian Fane Drs Oliver & Asha Foster Simon & Meg Freakley David & Victoria Graham Fuller Wim & Jackie Hautekiet-Clare The Jeniffer & Jonathan Harris Charitable Trust Alexandra Jupin & John Bean James R D Korner Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Laurence Watt Michael & Ruth West

Silver Patrons Mrs Molly Borthwick Peter & Fiona Espenhahn David Goldstone CBE LLB FRICS Rehmet Kassim-Lakha de Morixe John & Angela Kessler Vadim & Natalia Levin Mrs Virginia Slaymaker Mr Brian Smith The Viney Family Guy & Utti Whittaker Bronze Patrons Valentina & Dmitry Aksenov Dr Christopher Aldren Michael Allen Mr Jeremy Bull Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel David Ellen Mrs Marie-Laure Favre-Gilly de Varennes de Bueil Igor & Lyuba Galkin Mrs Irina Gofman Mr Daniel Goldstein Mr Gavin Graham Mrs Dorothy Hambleton Mr Martin Hattrell Mr Colm Kelleher Drs Frank & Gek Lim Mrs Angela Lynch Peter MacDonald Eggers William & Catherine MacDougall Mr & Mrs David Malpas Mr Adrian Mee Mrs Elizabeth Meshkvicheva Mrs Rosemarie Pardington Ms Olga Pavlova Mr Michael Posen Mrs Karmen Pretel-Martines Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr & Mrs G Stein Sergei & Elena Sudakova Captain Mark Edward Tennant Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Grenville & Krysia Williams

14 | London Philharmonic Orchestra

Christopher Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Mr Geoffrey Bateman Mrs A Beare Mr Charles Bott Mr Graham Brady Mr Gary Brass Mr Richard Brass Mr Frederick Brittenden David & Patricia Buck Dr Anthony Buckland Sir Terry Burns GCB Richard Buxton Mr Pascal Cagni Mrs Alan Carrington Dr Archibald E Carter The Countess June Chichester Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Alfons Cortés Mr David Edwards Ulrike & Benno Engelmann Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Roger Greenwood Mr Chris Grigg Malcolm Herring Amanda Hill & Daniel Heaf J Douglas Home Ivan Hurry Mr Glenn Hurstfield Mr Peter Jenkins Per Jonsson Mr Frank Krikhaar Rose & Dudley Leigh Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Nicholas Lyons Mr Peter Mace Robert Markwick & Kasia Robinski Elena Mezentseva Andrew T Mills Dr Karen Morton Mr & Mrs Andrew Neill

Maestro Yannick Nézet-Séguin Pavel & Elena Novoselov Dr Wiebke Pekrull Mr Roger Phillimore Mr James Pickford Andrew & Sarah Poppleton Oleg Pukhov Miss Tatiana Pyatigorskaya Martin & Cheryl Southgate Peter Tausig Mr Jonathan Townley Andrew & Roanna Tusa Lady Marina Vaizey Howard & Sheelagh Watson Des & Maggie Whitelock Bill Yoe Supporters Mr Clifford Brown Miss Siobhan Cervin Miss Lynn Chapman Mr Joshua Coger Mr Geoffrey A Collens Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Ms Holly Dunlap Mr Nigel Dyer Ms Susanne Feldthusen Mrs Janet Flynn Mr Nick Garland Mr Derek B. Gray Dr Geoffrey Guy The Jackman Family Mrs Svetlana Kashinskaya Niels Kroninger Mrs Nino Kuparadze Mr Christopher Langridge Alison Clarke & Leo Pilkington Miss S M Longson Mr David Macfarlane Mr John Meloy Miss Lucyna Mozyrko Mr Leonid Ogarev Mr Stephen Olton Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr James A Reece Mr Olivier Rosenfeld

Mr Robert Ross Mr Kenneth Shaw Mr Barry Smith Ms Natalie Spraggon James & Virginia Turnball Michael & Katie Urmston Timothy Walker AM Mr Berent Wallendahl Edward & Catherine Williams Mr C D Yates Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE 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: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna Natalie Pray Robert Watson Antonia Romeo Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Corporate Donors Fenchurch Advisory Partners LLP Goldman Sachs Linklaters London Stock Exchange Group Morgan Lewis Phillips Auction House Pictet Bank Corporate Members Gold Sunshine Silver Accenture After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze BTO Management Consulting AG Charles Russell Speechlys Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations Axis Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation The Goldsmiths’ Company Lucille Graham Trust Help Musicians UK Derek Hill Foundation John Horniman’s Children’s Trust The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw Foundation The Michael Tippett Musical 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 | 15

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Roger Barron Richard Brass Desmond Cecil CMG Dr Catherine C. Høgel Rachel Masters* Al MacCuish Julian Metherell George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Victoria Robey OBE Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson Bruno de Kegel William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Martin Höhmann Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager