London Philharmonic Orchestra 29 Oct 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

Southbank Centre’s Royal Festival Hall Friday 28 October 2016 | 7.30pm JTi Friday Series Brighton Dome Concert Hall Saturday 29 October 2016 | 7.30pm

Sibelius friday 28 October

The Oceanides, Op. 73 (10’) The Swan of Tuonela, Op. 22/2 (10’)

saturday 29 October

Walton Violin Concerto (28’) Interval (20’) Sibelius Symphony No. 6 in D minor, Op. 104 (27’) Sibelius Symphony No. 7 in C major, Op. 105 (22’)

Osmo Vänskä conductor Tasmin Little violin

The timings shown are not precise and are given only as a guide. CONCERTS PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA (29 OCTOBER IN ASSOCIATION WITH BRIGHTON DOME)

Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 New on the LPO Label: Wagner 6 Osmo Vänskä 7 Tasmin Little 8 Osmo Vänskä on Sibelius 9 Programme notes 14 Recommended recordings Next Royal Festival Hall concerts 15 Next Brighton Dome concerts 16 NOISE: students and under-26s 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

Friday 28 October

Saturday 29 October

Southbank Centre’s Royal Festival Hall

Brighton Dome

Welcome to Southbank Centre

Chief Executive Andrew Comben

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.

We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following:

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.

LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks.

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 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss

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 29 October 2016 is presented by the London Philharmonic Orchestra in association with Brighton Dome.

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.

2 | London Philharmonic Orchestra

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

On stage tonight

First Violins Eugene Tichindeleanu Guest Leader Ilyoung Chae Chair supported by an anonymous donor

Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

Thomas Eisner Yang Zhang Tina Gruenberg Grace Lee Rebecca Shorrock Molly Cockburn Caroline Frenkel Non Peters Galina Tanney Caroline Sharp Martin Höhmann* John Dickinson* Second Violins Jeongmin Kim Principal Chair supported by Friends of the Orchestra

Tania Mazzetti Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Marie-Anne Mairesse Ashley Stevens Robin Wilson Sioni Williams Erzsébet Rácz Harry Kerr Alison Strange* Elizabeth Baldey*

Violas Przemysław Pujanek Guest Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Daniel Cornford Stanislav Popov Sarah Malcolm* Martin Fenn* Cellos Josephine Knight Guest Principal Laura Donoghue Santiago Carvalho‡ Chair co-supported by Molly & David Borthwick

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

Susanna Riddell Tom Roff Iain Ward* Jonathan Kitchen* Double Basses Sebastian Pennar Principal George Peniston Damián Rubido González Lowri Morgan Ben Wolstenholme Jakub Cywinski Sam Rice* Oliver Simpson*

Flutes Juliette Bausor Principal Sue Thomas†

Trumpets Paul Beniston† Principal Anne McAneney†

Chair supported by Victoria Robey OBE

Chair supported by Geoff & Meg Mann

Christopher Hart Piccolo Stewart McIlwham† Principal

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

Oboes Ian Hardwick† Principal Alice Munday

David Whitehouse Bass Trombone Lyndon Meredith Principal

Cor Anglais Sue Böhling† Principal

Timpani Simon Carrington† Principal Henry Baldwin*

Chair supported by Dr Barry Grimaldi

Clarinets Thomas Watmough Principal Emily Meredith

Percussion Andrew Barclay† Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal

Bass Clarinet Paul Richards Principal Bassoons Jonathan Davies Principal Gareth Newman

Harps Rachel Masters Principal Zuzanna Olbryś * 28 October only

Contrabassoon Simon Estell*† Principal

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

Horns David Pyatt† Principal Chair supported by Simon Robey

Martin Hobbs Duncan Fuller Gareth Mollison Jonathan Quaintrell-Evans

Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Bianca & Stuart Roden • Caroline, Jamie & Zander Sharp • 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

4 | London Philharmonic Orchestra

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,

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. 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 Bruckner’s Symphony No. 5 with veteran maestro Stanisław Skrowaczewski; a disc of Stravinsky works with Vladimir Jurowski; and Act 1 of Wagner’s Die Walküre with Klaus Tennstedt (see right).

Latest release on the LPO Label

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

BBC Radio 3's Disc of the Week, 1 October 2016

Wagner: Die Walküre (Act 1) Klaus Tennstedt conductor René Kollo tenor (Siegmund) Eva-Maria Bundschuh soprano (Sieglinde) John Tomlinson bass (Hunding) London Philharmonic Orchestra

£9.99 | LPO-0092

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

youtube.com/c/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

London Philharmonic Orchestra | 5

Osmo Vänskä conductor

Vänskä confirms his status as our greatest living Sibelian. Irreplaceable.

The Times, July 2016

Osmo Vänskä is recognised for his compelling interpretations of repertoire from all ages. Music Director of the Minnesota Orchestra for over a decade, he has led the orchestra on five major European tours including festivals and venues such as the BBC Proms, Edinburgh International Festival, the Barbican, the Royal Concertgebouw, the Berlin Philharmonie, the Tivoli Copenhagen and Vienna’s Musikverein. In 2015 he took the Minnesota Orchestra on a historic trip to Cuba, the first visit by a major US orchestra since the normalisation of relations between the two governments. With the same orchestra he has recorded complete Beethoven and Sibelius symphony cycles for BIS, garnering rave reviews internationally, while 2016 has also seen Vänskä and the orchestra return to Europe, taking in the Edinburgh International Festival, Amsterdam Concertgebouw, Tivoli Copenhagen and Sibelius Hall Lahti. Throughout October 2016 Vänskä conducts a complete Sibelius Symphony Cycle with the London Philharmonic Orchestra. This season will also see recordings of Mahler’s Second and Sixth Symphonies with the Minnesota Orchestra, continuing a cycle begun in June 2016. He will make his debut with the Orchestre Philharmonique de Radio France and return to the Israel and Helsinki philharmonics and the New World and Finnish Radio symphony orchestras. Much in demand as a guest conductor, Vänskä has appeared with the New York and Los Angeles philharmonics, The Cleveland and Philadelphia orchestras and the Boston, Chicago and San Francisco symphony orchestras; and in Europe with the Berlin Philharmonic, BBC Symphony Orchestra, London Symphony Orchestra, Czech Philharmonic Orchestra, Deutsches Symphonie-Orchester Berlin, Vienna

6 | London Philharmonic Orchestra

Symphony, Royal Concertgebouw Orchestra and Gewandhausorchester Leipzig. He is Principal Guest Conductor of the Iceland Symphony Orchestra, having previously held the position of Music Director, and was also formerly Music Director of the Lahti Symphony Orchestra and Chief Conductor of the BBC Scottish Symphony Orchestra. Vänskä is a distinguished recording artist, primarily for the BIS label. In 2014 his album with the Minnesota Orchestra of Sibelius’s Symphonies Nos. 1 and 4 won a Grammy award for Best Orchestral Performance, following the nomination of Symphonies Nos. 2 and 5 the year before. Recordings of Beethoven’s Piano Concertos with Yevgeny Sudbin, again with the Minnesota Orchestra, also garnered worldwide praise. Vänskä began his career as a clarinettist, occupying, amongst others, the co-principal chair of the Helsinki Philharmonic Orchestra. In recent years he has enjoyed a return to the clarinet, including on a 2012 recording of Kalevi Aho’s chamber works. Vänskä is the recipient of a Royal Philharmonic Society Award, the Finlandia Foundation’s Arts and Letters Award, and the 2010 Ditson Award from Columbia University. He holds honorary doctorates from the universities of Glasgow and Minnesota and was named Musical America’s 2005 Conductor of the Year. In 2013 he received the Annual Award from the German Record Critics’ Award Association for his involvement in BIS’s recordings of the complete works by Sibelius.

Tasmin Little violin

Little is one of the very top advocates of the work [Walton’s Violin Concerto], as she is of British music in general. It is an exceptionally warm and lyrical sound and just as light and agile when it needs to be. The cadenza in the third movement is a masterclass in controlled intensity. Sinfini Music

Tasmin Little has firmly established herself as one of today’s leading international violinists. She has performed on every continent at some of the world’s most prestigious venues. Her multi-award winning career encompasses concerto and recital performances, masterclasses, workshops and outreach work. She has given numerous world-premiere performances including concertos by Willem Jeths, Robin de Raaf, Stuart MacRae, Robert Saxton and Dominic Muldowney. Her newly commissioned work, Four World Seasons by Roxanna Panufnik, was premiered as a live BBC broadcast at the start of Music Nation weekend, leading up to the London 2012 Olympics. She remains one of the few violinists to perform Ligeti’s challenging Violin Concerto and has performed the work worldwide. Tasmin records exclusively for Chandos Records. Her recording of Elgar’s Violin Concerto with Sir Andrew Davis and the Royal Scottish National Orchestra was awarded the Critic’s Choice Award in the 2011 Classic BRIT Awards. Her 2013 recording of the Britten Concerto with Edward Gardner and the BBC Philharmonic also received lavish critical praise. Her most recent releases include a disc of violin concertos by Coleridge Taylor and Haydn Wood, and Delius’s Suite with the BBC Philharmonic and Sir Andrew Davis; a disc of French Violin Sonatas by Lekeu, Ravel and Fauré with Martin Roscoe; Volume 2 of her series with Piers Lane of British Violin Sonatas including works by Vaughan Williams, Ireland and Bridge; and Schubert Chamber Works with Tim Hugh and Piers Lane. In February 2016 Tasmin released a CD of the Complete Beethoven Sonatas with Martin Roscoe, which was launched following a concert at London’s Wigmore Hall. The Sunday Times chose this recording as its Album of the Week.

Last season included a performance of Szymanowski’s Violin Concerto No. 2 with the Warsaw Philharmonic under Jacek Kaspszyk; Bernstein’s Serenade for violin and orchestra with the BBC Philharmonic conducted by Juanjo Mena; and concertos with the Philharmonia, Royal Philharmonic, City of Birmingham Symphony and Bournemouth Symphony orchestras. In 2016/17 Tasmin will perform Szymanowski’s Violin Concerto No. 2 with Edward Gardner and the BBC Symphony Orchestra at London’s Barbican, as well as a further visit to Australia to perform in Adelaide and Tasmania. In 2008 Tasmin launched The Naked Violin, a project aimed at breaking down barriers to classical music by releasing a free album for download and performing in communities where music is rarely heard: within a few months more than half a million people had downloaded the album. The project was filmed by ITV’s The South Bank Show and continues both in the UK and on tour in the USA, China, New Zealand, Ireland and Dubai. Tasmin is a Fellow of the Guildhall School of Music & Drama, a Vice-President of the Elgar Society, and an Ambassador for The Prince’s Foundation for Children and the Arts and for Youth Music. She has received Honorary Degrees from the Universities of Bradford, Leicester, Hertfordshire and City of London, and in 2016 was awarded Honorary Membership of the Royal Academy of Music. In 2012 Tasmin was appointed an OBE in the Queen’s Diamond Jubilee Birthday Honours List for services to music. tasminlittleviolin tasminlittle

London Philharmonic Orchestra | 7

Osmo Vänskä on Sibelius

Andrew Mellor talks to the Finnish conductor about this autumn’s symphonic journey

AM: Why did you decide to pair Sibelius’s symphonies with British string concertos in these concerts? OV: It’s a natural direction to go in. England was one of the first countries where Sibelius’s music was played and understood, and we wanted an extra strand to these concerts: it was more about the audience than anything musicological. These concertos were written during Sibelius’s lifetime, and two of them – Britten’s and Walton’s – after he stopped composing, during his famous silence. Music was advancing without him … Yes, there is a chronological connection, and in some cases a musical one too. I think you can hear something in the way Walton uses the orchestra that might be connected to Sibelius’s Sixth and Seventh Symphonies and a late piece like Tapiola. Walton was an international composer like Sibelius – more so than Vaughan Williams – a composer whose music is coming from somewhere discernable but doesn’t stay there. The symphonies present quite a journey. The First and Seventh are separated by a quarter of a century and a huge stylistic gulf … … but the First Symphony is quite a statement, no? It’s a wild piece by a young composer who really wanted to announce his arrival. That is why the tempo markings are so important. Sibelius stipulated extremely fast speeds that almost nobody does, but they are important as they underline the Symphony’s provenance. With slower speeds, the Symphony sounds as though it was composed by an old master, which it wasn’t. 8 | London Philharmonic Orchestra

It’s fascinating what follows – the very different sort of momentum of the Seventh Symphony and before that, the occasional inertia of the Fourth. That work’s silence and space is something that orchestras have struggled with … An orchestra’s struggle is connected always to a conductor’s struggle! And that’s the thing. Sometimes if there’s something you don’t understand the easiest thing is to speed up, and wait for a passage that you understand better. But I’m stubborn enough to believe in the score and to follow the score even if I don’t understand it. That way of thinking can deliver great results. You’re famous for following the score to the letter, so has anything changed in your approach to these pieces since your last complete cycle with the LPO in 2010? We get older, and even the same ideas can sound different. I don’t know what it is exactly, but when I’m conducting nowadays I sometimes feel as though I have more time – more time to breathe. So perhaps the ideas are the same, but the colours have altered slightly. And are those things you talk to the Orchestra about in rehearsal – or do they stay in your head? Mostly in my head. I sometimes try to tell the musicians how I feel, to explain why I’m asking them to do something and perhaps to encourage them to go deeper. Musicians hate conductors who talk too much. But a piece like the Fourth Symphony needs some explanation – the fact that Sibelius really thought he was going to die. You can use that to explain how some passages should be as slow and as minimalistic as possible. But some things are more difficult to explain – like the flow of the Sixth and Seventh Symphonies, where the orchestra really has to listen, as if there’s no conductor at all … That’s one of the reasons why it’s important to do the symphonies as chronologically as possible, because by the time you come to the Sixth and Seventh, you’ve learnt so many things from their predecessors. I think it’s possible to put everything together from the score’s tempo markings, dynamics, phrasing and such. If you do that well, you get that natural flow. If the music sounds like it’s man-made – if you don’t feel that it’s about life – then maybe something is wrong. Watch a video of Osmo and Andrew in conversation lpo.org.uk/sibelius

Programme notes

Speedread Jean Sibelius wrote the strangest, the most remarkable and probably the most influential set of symphonies of the 20th century. Tonight, we hear the last two. The composer started work on an Eighth Symphony but burned the score in a fit of self-criticism. Either way, the Sixth and Seventh end Sibelius’s cycle of symphonies with freshness and monumentality. The Sixth was famously likened to ‘pure, cold water’ by the composer. But in this light and nimble pastoral, Sibelius explores some of the most unusual textures and structures of his career. With almost no ‘slow’ music at all, the Symphony seems never to lose its freewheeling spirit. Those new thoughts on

Jean Sibelius

symphonic ‘flow’ would be taken forward in Sibelius’s mighty Seventh, a work that seems to live a whole life in its short span. Fifteen years after that piece was written, Sibelius was in the midst of the infamous ‘silence’ that ended his creative life. The British composer William Walton, in contrast, was only just getting going. The great violinist Jascha Heifetz noticed in 1938 that Walton was blossoming into a composer of distinct fluency and individuality, and commissioned a concerto from him. Walton delivered a beautiful but cutting concerto that he believed ‘exhausted the possibilities of what one could do on a violin.’

The Oceanides, Op. 73 (1913–14) friday 28 October only The programme note for The Swan of Tuonela (Saturday 29 October) is overleaf.

1865–1957

In 1905 the Finnish painter Akeseli Gallen-Kallela produced Aallottaret, a depiction of the seductive feminine life-forces of the ocean in radiant pinks and golds. The following decade Gallen-Kallela’s friend Jean Sibelius set about writing an orchestral depiction of the same figures and context in response to a commission from a festival in Norfolk, Connecticut. Sibelius called his piece The Oceanides. As the composer sailed to America in 1914 for the work’s premiere – perhaps as the Atlantic heaved underneath his steamer – he learned new things about the ocean and re-wrote the piece almost entirely. It became shorter, it became more severe, but it also became more typical of 1910s Sibelius in its concurrent brevity and breadth. ‘I seem to be finding myself more and more,’ Sibelius wrote to his wife from the ship.

Musicologist Timo Virtanen has described the form of the piece in simple metaphorical terms. ‘The Oceanides can be seen as a single wave’ he writes, ‘slowly gathering force, foam forming on its crest and, on reaching its destination, quickly abating and sweeping the sand on the shore.’ Virtanen expands on that, specifically describing how Sibelius merges the ‘foreground’ of the piece with its ‘background’. The result is the feeling of two concurrent musical planes, completely entwined but of different meta-speeds – something we’ll hear more of in the composer’s Seventh Symphony.

London Philharmonic Orchestra | 9

Programme notes continued

Jean Sibelius

The Swan of Tuonela, Op. 22/2 (1909–11) saturday 29 October only

1865–1957

Finland is at the heart of nearly everything Jean Sibelius wrote. The country’s distinctive landscape and natural life infested his symphonies and his touchstone mythological poem The Kalevala and directly shaped numerous other works, orchestral and otherwise. One of them was The Building of the Boat, an opera based on narratives from The Kalevala that Sibelius started to commit to paper in 1893. The project was fraught with problems and eventually sank entirely. But Sibelius re-used the opera’s overture to form part of his 1895 orchestral suite telling the story of Lemminkäinen,

a striking youth who formed one of The Kalevala’s most prominent (and typically unfortunate) heroes. As it would have in the opera, the music for The Swan of Tuonela depicts the black waters above The Kalevala’s land of the dead, on which a single singing swan floats (the swan Lemminkäinen tried to catch). Sibelius uses a twisting, reedy cor anglais to represent the swan’s slow passage and its brutal, curvaceous, feathered neck. The instrument sings troubled melodies above muted strings, punctuated by just one sustained moment of optimism in the form of a long C major chord.

Sibelius on the LPO Label

Sibelius Symphony No. 2 Sibelius Symphony No. 7 Paavo Berglund conductor LPO-0005 | £9.99

Sibelius Symphony No. 5 Sibelius Symphony No. 6 Sibelius The Swan of Tuonela

Sibelius Pohjola's Daughter Sibelius Symphony No. 5 Lutosławski Concerto for Orchestra

Paavo Berglund conductor LPO-0065 | £9.99

Jukka-Pekka Saraste conductor LPO-0057 | £9.99

Over 90 titles available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Download or stream online via iTunes, Spotify, Amazon and others

10 | London Philharmonic Orchestra

William Walton 1902–83

William Walton was a little surprised when, in 1938, he found himself on the receiving end of a commission from the greatest violinist of the day, Jascha Heifetz. Heifetz had encountered Walton personally and professionally two years previously. Perhaps, back then, the violinist saw and heard that the British composer was maturing into quite an artist. With his First Symphony of 1935, it’s fair to say Walton’s music was becoming thrillingly impulsive, flowing as naturally and as personally as can be imagined. Still, Walton was daunted at the prospect of writing a concerto for Heifetz. At one point he considered giving it to somebody else to play, believing it unworthy of the great man. Eventually, Walton decided to travel to the violinist’s home in Connecticut to examine some of the Concerto’s finer details and work out some problems with its final movement. That was in the spring of 1939, the year after the composer started work on the score in Ravello, on the Amalfi Coast in southern Italy. By June the Concerto was finished. Its New York premiere was cancelled but it was eventually unveiled in December 1939 by Heifetz, The Cleveland Orchestra and conductor Artur Rodziński. At the time, Walton was serving in the Ambulance Corps in London and was unable to attend. ‘Concerto enormous success’, Heifetz telegrammed to the composer. ‘You would have been extremely pleased.’

Violin Concerto (1938–39) Tasmin Little violin 1 Andante Tranquillo 2 Presto capriccioso alla napolitana – Trio (Canzonetta) – Tempo I 3 Vivace

In the end, Walton knew he’d delivered a good concerto. He believed the piece ‘exhausted the possibilities of what one could do on a violin.’ We certainly hear that. The Concerto is dark, volatile and spiteful one moment; it sings with brightness and love the next. Throughout, Walton’s own burgeoning sense of lyricism seems to be buoyed by Heifetz’s own equally lyrical playing style. We hear that right from the soloist’s broad opening melody, marked ‘dreaming’ in the score. But listen to what happens underneath it. The bassoons and cellos play a countermelody that’s just as rich. Not only will this melody form the basis of more high-octane music later on, it will return at the movement’s close, played by the soloist, whose ‘original’ tune from the start becomes its accompaniment. Walton’s love for Italy and the Amalfi Coast comes to the fore in the ‘Neapolitan’ middle movement. This places music in the style of a quick Italian dance known as a ‘tarantella’ (the composer was bitten by a tarantula before starting the movement, which might explain its provenance) around a beautifully simple song or ‘canzonetta’ initiated by a horn. The final movement begins briskly but the soloist can’t help but spin out another broad, beautiful melody. When the bustle returns, the music throws up themes from earlier in the work before those themes are digested fully in the cadenza – the soloist’s moment of flourishing improvisation. A snappy march typical of Walton brings the piece to a close.

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

London Philharmonic Orchestra | 11

Programme notes continued

Jean Sibelius 1865–1957

The Sixth has never been Sibelius’s most popular symphony. But for many, it’s his most remarkable. After the fist-clenched chords that closed the Fifth, the translucence, purity and emotional reticence of the Sixth can feel like a marked departure. But Sibelius’s final three symphonies are actually united by the same developments in the composer’s structural thinking. Sibelius’s work on the Sixth overlapped with that of the Fifth and Seventh. This Symphony’s singular combination of purification and kinetic playfulness has its roots in Sibelius’s childhood in the countryside of Hämmenlinna, which inspired his initial sketches. But by 1922 when Sibelius came to knit those sketches together, dark clouds had returned to his life. The death of his brother Christian in July threw the composer into a sustained period of grief, and his financial situation grew ever-more precarious. Sibelius was reunited with alcohol after a seven-year abstinence, but his concentration on the Symphony remained steadfast: he would follow bouts of drinking with long, solitary days at work on the score (perhaps ‘purification’ in itself). On 19 February 1923, the new symphony was given its premiere in Helsinki. If you don’t know the piece already but you have heard its predecessors, you might be surprised by how light and ‘high’ it sounds. Despite the composer’s only symphonic use of a bass clarinet, many of the instruments sound in their upper registers (a harp also adds some glisten on top). The Symphony can also sound less overtly dramatic than its forbears. There are a few reasons for that. The first is Sibelius’s use of the so-called ‘Dorian mode’, a diatonic scale that has a different feel to the standard major or minor scales used by Western composers after the Renaissance. That has two effects. It gives the music

12 | London Philharmonic Orchestra

Symphony No. 6 in D minor, Op. 104 (1922–23) 1 2 3 4

Allegro molto moderato Allegro moderato Poco vivace Allegro molto

an elegiac or even ancient feel – perhaps the reason the work has been described as a ‘sanctuary’ – but it also meant Sibelius could exploit the inherent tension between modal elements rooted in D (you get some flavour of it by playing all the white notes on a piano from D to D) and the standard major scale in C. But what of the Symphony’s use of melodies; its sense of free-falling momentum? There’s a clue in Sibelius’s early description of the work, like the Seventh, as a ‘fantasy’. So, Sibelius doesn’t take opposing melodies and force them to argue with one another. Instead, he concentrates on generating each melodic fragment from the germ of that which went before it. In that sense, you could say all the Sixth Symphony’s music is derived from one single ‘cell’, alluded to at various stages, but perhaps heard most clearly when the oboe steps up through the five notes from D just over a minute into the first movement. That organic technique, as Sibelius knew, meant that the overall design of the Symphony wasn’t shaped by standard formats or practices; it was controlled and propelled by the musical themes themselves. The movements aren’t linked by traditional ‘tonal’ relationships and nor is the music inside them. How you respond to the very different way in which the Sixth Symphony is ‘lit’ is a personal matter. But it might be helpful to return to Sibelius’s first sketches, inspired by childhood and landscape. The composer referred to the Symphony as a whole as ‘pure, cold water’. It drifts into being in music he aligned with winter; in the fluttering flute and darting harp that punctuate the first movement later on we can sense the spirit of his childhood. The slightly thicker second movement might be a few steps deeper into the wood, and the third a genial game alive with rhythm. Sibelius

referred to elements of the final movement, notably the second theme, as ‘the spirit of the pine tree.’ But despite containing the work’s most passionate utterances, there is no fortifying hymn to close. Instead, the music drifts back into the silence from which it came.

Jean Sibelius

Symphony No. 7 in C major, Op. 105 (1923–24) Adagio – Vivacissimo – Allegro moderato – Vivace – Presto – Adagio

1865–1957

In the Seventh Symphony, that form of kinetic energy born from the material itself is taken to a level that renders movement breaks and duration entirely irrelevant. The Symphony is cast in one movement that usually lasts a little over 20 minutes in performance. When he started work on the Symphony, Sibelius probably had little idea that would be the case – so organic are the processes at work in this short but gigantic musical journey. He began work on the Symphony in earnest in 1923. As he did so, Sibelius noted that his own sense of selfcriticism had grown to ‘impossible proportions’. Day-today domestic life in the Sibelius household was fraught with tension too. The composer’s return to alcohol had resulted in two embarrassing public episodes following which his wife, Aino, began communicating with the composer via handwritten notes left around the house. Sibelius’s modus operandi at this time was to work through the night until losing consciousness either through drunkenness or tiredness; Aino would usually find him slumped over his desk in the morning. If that paints a sorrowful picture of a towering artistic mind, then the music of the Seventh Symphony does the opposite. There is a remarkable poignancy and nobility in its taut, rapid discourse. When it was first performed on 24 March 1924 in Stockholm, Sibelius probably didn’t believe it would be his final symphony. But still, it’s a fitting culmination – profound, majestic,

transcendent and quite unlike anything else that had gone before it. Once again, Sibelius lets the musical material dictate the direction of the Seventh’s river-like flow. But the churn of that material throws up a single ‘motto’ that occurs at three vital junctures along the way. We hear it first, around five minutes into the Symphony, faintly outlined in a hymn-like passage on strings and then traced on a solo trombone as if outlining a mountainous horizon on top of the orchestral landscape. The trombone theme returns twice. Its first reappearance comes after the Symphony’s scherzo section, when that playful material is reprised only for the strings to start urgently thrusting-out an updown scale idea from earlier in the journey. Now the trombone theme is troubled, in a minor key, bated by its fellow brass players and unsettled by those heaving, oceanic strings. But its second, final reappearance couldn’t be more different. Now it appears in a state of majestic transcendence which cues the start of the Symphony’s strained but climactic bid for closure. That the trombone theme is structurally born of the string passage that prefaces it speaks of the ‘inner connection between all the motifs’ that Sibelius described in particular relation to this Symphony. But there is something more significant in its final appearance. The music is running at a higher than

London Philharmonic Orchestra | 13

Programme notes continued ever velocity at this point, while the trombone theme retains its original speed. But the feeling, in absolute contradiction, is that the trombone theme is slower and more majestic than ever. The music seems to be operating at two speeds and on two concurrent planes – a phenomenon pushed right through to the Symphony’s weightless final bars. Programme notes © Andrew Mellor Video: Osmo Vänskä discusses Sibelius’s symphonies lpo.org.uk/sibelius

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. Sibelius: The Oceanides Osmo Vänskä | Lahti Symphony Orchestra (BIS) Sibelius: The Swan of Tuolena Paavo Berglund | London Philharmonic Orchestra (LPO Label, LPO-0005) Walton: Violin Concerto Tasmin Little | BBC Symphony Orchestra | Edward Gardner (Chandos) Sibelius: Symphonies Nos. 6 & 7 Osmo Vänskä | Minnesota Symphony Orchestra (BIS) or Paavo Berglund | London Philharmonic Orchestra (LPO Label, LPO-0065 & LPO-0005)

Next concerts at Southbank Centre’s Royal Festival Hall tuesday 1 november 2016 7.30pm Meow Meow’s Pandemonium International siren and comedienne extraordinaire Meow Meow brings her glorious brand of subversive and sublime performance to Royal Festival Hall. Iain Grandage conductor Thomas M. Lauderdale piano Members of Pink Martini London Philharmonic Orchestra

saturday 5 november 2016 7.30pm Beethoven Missa Solemnis Sir Mark Elder conductor Lucy Crowe soprano Paula Murrihy mezzo soprano Allan Clayton tenor Peter Rose bass London Philharmonic Choir

wednesday 9 november 2016 7.30pm Beethoven Violin Concerto Dvořák Symphony No. 9 (From the New World) Robin Ticciati conductor Anne-Sophie Mutter violin

Book now lpo.org.uk 020 7840 4242 14 | London Philharmonic Orchestra

Still to come this season at Brighton Dome Concert Hall NORTH MEETS SOUTH

Saturday 26 November 2016 7.30pm Glinka Waltz Fantasy Walton Cello Concerto Tchaikovsky Symphony No. 4 Dima Slobodeniouk conductor Dane Johansen cello

ELGAR’S ENIGMA

Romantic classics

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)

SATURDAY 11 MARCH 2017 7.30pm

Rory Macdonald conductor Igor Tchetuev piano

SATURDAY 29 APRIL 2017 7.30pm

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 20% available

London Philharmonic Orchestra | 15

MUSIC IS OUR WORLD. Student & Under 26 NOISE Scheme at Royal Festival Hall & Brighton Dome Students receive best available seats for just £4 plus FREE post-concert drinks at selected concerts throughout the year.

‘Concert-goers are lucky to have concerts as creative as this’ - Financial Times

‘@LPOrchestra

bring it on!’

The London Philharmonic Orchestra’s NOISE programme is supported by the Orchestra’s Principal Beer Sponsor, Heineken.

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 | 17

Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle An anonymous donor Victoria Robey OBE Orchestra Circle 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

18 | 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 | 19

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 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