LPO/Marquee TV digital concert programme: Julia Fischer plays Mozart 1 - 5 Mar 2022 by London Philharmonic Orchestra

J U L I A F I S C H E R P L AY S M OZ A R T 1

B ROA D C A S T S AT U R DAY 5 M A RC H 2 0 2 2 F I L M E D L I V E AT T H E S O U T H B A N K C E N T R E ’ S ROYA L F E S T I VA L H A L L

D I G I TA L CONCE RT PROGR AMME

MOZART Violin Concerto No. 1 in B flat major, K207 MOZART Violin Concerto No. 2 in D major, K211 Julia Fischer violin & director MOZART Violin Concerto No. 3 in G major, K216 Thomas Søndergård conductor Julia Fischer violin

London Philharmonic Orchestra on Marquee TV • 5 March 2022 • Julia Fischer plays Mozart 1

CONTENTS

Click on the headings to jump to a section

3 ON STAGE

4 LONDON PHILHARMONIC ORCHESTRA 5 LEADER: PIETER SCHOEMAN 6 JULIA FISCHER

7 THOMAS SØNDERGÅRD

8 PROGRAMME NOTES: VIOLIN CONCERTO NO. 1

9 PROGRAMME NOTES: VIOLIN CONCERTO NO. 2

10 PROGRAMME NOTES: VIOLIN CONCERTO NO. 3 11 NEXT LPO CONCERT ON MARQUEE TV 13 SOUND FUTURES DONORS 14 THANK YOU

16 LPO ADMINISTRATION Concerts performed at the Southbank Centre’s Royal Festival Hall on 2 & 12 February 2022 and filmed by Intersection. The live concert on 12 February was generously supported by The LPO would like to acknowledge the generosity of all of its members, supporters and donors. Thank you for your support. This performance has been made possible through a grant from the Cultural Recovery Fund from the Department of Digital, Culture, Media and Sport. #HereForCulture

London Philharmonic Orchestra on Marquee TV • 5 March 2022 • Julia Fischer plays Mozart 1

ON STAGE FIRST VIOLINS

Pieter Schoeman* LEADER Chair supported by Neil Westreich

Vesselin Gellev SUB-LEADER Kate Oswin

VIOLAS

David Quiggle PRINCIPAL Richard Waters CO-PRINCIPAL

Chair supported by Caroline, Jamie & Zander Sharp

Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Ting-Ru Lai Benedetto Pollani Laura Vallejo Katharine Leek

Chair supported by Sonja Drexler

CELLOS

Chair supported by Friends of the Orchestra

Lasma Taimina

Minn Majoe Katalin Varnagy Yang Zhang

Chair supported by Eric Tomsett

Martin Höhmann

Chair supported by Chris Aldren

Thomas Eisner Amanda Smith Sophie Phillips

SECOND VIOLINS

Tania Mazzetti PRINCIPAL

Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Joseph Maher Nynke Hijlkema Marie-Anne Mairesse Fiona Higham

Chair supported by David & Yi Buckley

Kate Birchall Eriko Nagayama Ashley Stevens Sarah Thornett Claudia Tarrant-Matthews

Pei-Jee Ng PRINCIPAL

Chair supported by The Candide Trust

Jean Kim Francis Bucknall Laura Donoghue David Lale

DOUBLE BASSES

Kevin Rundell* PRINCIPAL Sebastian Pennar CO-PRINCIPAL George Peniston

FLUTES

Katie Bedford* GUEST PRINCIPAL Stewart McIlwham*

OBOES

Ian Hardwick* PRINCIPAL Alice Munday

HORNS

John Ryan* PRINCIPAL Nicholas Mooney Martin Hobbs * Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose players are not present: Gill & Garf Collins William & Alex de Winton Roger Greenwood Dr Barry Grimaldi Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden

London Philharmonic Orchestra on Marquee TV • 5 March 2022 • Julia Fischer plays Mozart 1

LONDON PHILHARMONIC ORCHESTRA

the Orchestra takes up its annual residency at Glyndebourne Festival Opera, 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.

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities.

The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski; a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult; and works by Richard Strauss under Klaus Tennstedt, featuring soprano Jessye Norman.

The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In September 2021 Edward Gardner became the Orchestra’s Principal Conductor, succeeding Vladimir Jurowski, who became Conductor Emeritus in recognition of his transformative impact on the Orchestra as Principal Conductor from 2007–21. Karina Canellakis is the Orchestra’s current Principal Guest Conductor and Brett Dean is the Orchestra’s current Composer-in-Residence.

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 Orchestra is resident at the Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. It also enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Each summer

London Philharmonic Orchestra on Marquee TV • 5 March 2022 • Julia Fischer plays Mozart 1

PIETER SCHOEMAN

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020. From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV.

Leader

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, JeanGuihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.

September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer. The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

lpo.org.uk

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. Pieter’s chair in the LPO is generously supported by Neil Westreich.

London Philharmonic Orchestra on Marquee TV • 5 March 2022 • Julia Fischer plays Mozart 1

JULIA FISCHER violin/director LPO Artist-in-Residence Spring 2022

Symphony Orchestra under Michael Tilson Thomas. She embarks on a recital tour of major European venues with pianist Yulianna Avdeeva, as well as with her own Julia Fischer Quartet. During the 2020/21 season Julia Fischer appeared in concert with the Elbphilharmonie Hamburg and Alan Gilbert, the Svetlanov Symphony Orchestra and Vladimir Jurowski and the Bamberg Symphony under Jakub Hrůša, and premiered a new piece by Pascal Zavaro with the Orchestre national de France under Cristian Măcelaru. In 2011 Julia Fischer founded her own Quartet with Alexander Sitkovetsky, Nils Mönkemeyer and Benjamin Nyffenegger, and continues to tour extensively in this formation. Her concert at the Alte Oper Frankfurt in 2010 marked her debut as a pianist: she performed Grieg’s Piano Concerto in the second half of the concert, having played Saint-Saëns’s Violin Concerto No. 3 in the first half. The performance is available on a Decca-released DVD.

One of the world’s leading violinists, Julia Fischer is a versatile musician also known for her extraordinary abilities as a concert pianist, chamber musician and violin teacher. Born in Munich to German-Slovakian parents, she received her first violin lessons at the age of three and her first piano lessons shortly after from her mother, Viera Fischer. At the age of nine she started studying with renowned violin professor Ana Chumachenco, later becoming her successor. Winning First Prize at the Yehudi Menuhin International Competition in 1995 was one of the milestones in her early career and she has since performed with top orchestras worldwide.

Teaching is another integral part of Julia’s musical life, as she continues to nurture and guide young talent including performances alongside her students. She regularly gives masterclasses at Musikferien at Lake Starnberg (Starnberger See). In 2019 she founded a children’s orchestra, the Kindersinfoniker, teaming up with conductor Johannes X. Schachtner and pianist Henri Bonamy in her hometown of Munich.

In March 2019 Julia embarked on a major tour of China, Taiwan and South Korea with the London Philharmonic Orchestra under Vladimir Jurowski, and in September 2019 performed Britten’s Violin Concerto with the Orchestra, again under Jurowski, at the Royal Festival Hall and Saffron Hall. This spring she is Artist-in-Residence with the Orchestra, performing Mozart’s Concertos with Thomas Søndergård, as well as play-directing a Mozart programme and joining LPO Principal players in a chamber music concert. She returns to the Royal Festival Hall on 13 April to perform a live concert featuring Elgar’s Violin Concerto with the Orchestra and conductor Vladimir Jurowski.

Over the course of her artistic career Julia Fischer has released numerous critically acclaimed and awarded CD and DVD recordings, first under the Pentatone label and later under Decca. Breaking new ground in the classical music market, in 2017 she launched her own music platform, the JF CLUB, which offers exclusive audio and video footage and previews of her new recordings as well as personal insights into music and her work. Franck’s Sonata in A major, Szymanowski’s Sonata in D minor and Beethoven’s String Trio in C minor are all available exclusively on JF CLUB. In August 2021 Julia Fischer released a limited vinyl recording of Ysaÿe’s Sonatas as an exclusive JF CLUB edition in collaboration with Hänssler Classic.

This season Julia also embarks on an extensive tour with the Academy of St Martin in the Fields, an ensemble with whom she has enjoyed a long-standing relationship. Other tours include with the Royal Philharmonic and Vasily Petrenko, and the Berlin Radio Symphony Orchestra with Vladimir Jurowski. Julia also collaborates with the Lucerne Symphony under its new Chief Conductor Thomas Sanderling, and the Bavarian Radio

Julia Fischer holds numerous awards including the Federal Cross of Merit, a Gramophone Award and the German Culture Prize. She plays a violin by Giovanni Battista Guadagnini (1742) as well as an instrument made by Phillipp Augustin (2018). juliafischer.com/club

London Philharmonic Orchestra on Marquee TV • 5 March 2022 • Julia Fischer plays Mozart 1

THOMAS SØNDERGÅRD conductor (Violin Concerto No. 3)

The 2021/22 season sees the RSNO’s return to live performances, showcasing works by, amongst others, Stravinsky, Tchaikovsky, Shostakovich and Berlioz. In November 2021 Thomas led the orchestra in performances of Dvořák’s ‘New World’ Symphony and (with Midori), the world premiere of Detlev Glanert’s Violin Concerto No. 2, To the Immortal Beloved, in tandem with the 2021 United Nations Climate Change Conference in Glasgow. © Bjarke Johansen

Recent highlights with the RSNO have included tours to China and the United States, premieres of new commissions and Wynton Marsalis’s Violin Concerto with Nicola Benedetti, and much-praised appearances at the Edinburgh International Festival. This season he makes first visits to the Montreal Symphony, Minnesota Orchestra and Bergen Philharmonic, and returns to many orchestras, among them the NDR Radiophilharmonie Hannover, the Royal Danish Opera (Die Walküre and New Year concerts) and the Danish National Symphony Orchestra.

Danish conductor Thomas Søndergård is current Music Director of the Royal Scottish National Orchestra, following six seasons as Principal Guest Conductor. Between 2012 and 2018 he served as Principal Conductor of the BBC National Orchestra of Wales, after stepping down as Principal Conductor and Musical Advisor of the Norwegian Radio Orchestra. Thomas Søndergård’s previous appearance with the London Philharmonic Orchestra was in December 2020, when he conducted a programme of Ravel, Schubert and Bent Sørensen, filmed at the Royal Festival Hall and broadcast on Marquee TV. He has appeared with many other notable orchestras in leading European centres, such as Berlin (including the Berlin Philharmonic, Rundfunk-Sinfonieorchester Berlin and Mahler Chamber Orchestra), Leipzig (Gewandhausorchester), Paris (Orchestre National de France), London (BBC Symphony, London Symphony and Philharmonia Orchestra), Amsterdam and Rotterdam (Royal Concertgebouw Orchestra, Netherlands Philharmonic, Rotterdam Philharmonic), and is a familiar figure in Scandinavia with such orchestras as the Oslo Philharmonic, Gothenburg Symphony, Danish National Symphony, Royal Stockholm Philharmonic, Swedish Radio Symphony, Finnish Radio Symphony and Helsinki Philharmonic orchestras. North American appearances to date have included the symphony orchestras of Chicago, Toronto, Atlanta, Montreal, Vancouver, Houston and Seattle. He has made highly successful tours to China, Korea, Australia and New Zealand.

London Philharmonic Orchestra on Marquee TV • 5 March 2022 • Julia Fischer plays Mozart 1

PROGRAMME NOTES WOLFGANG AMADEUS MOZART 1756–91

VIOLIN CONCERTO NO. 1 IN B FLAT MAJOR, K207 1773

JULIA FISCHER violin/director 1 Allegro moderato 2 Adagio 3 Presto

This Concerto has sometimes been identified (albeit without any real evidence) as the work referred to by Leopold Mozart in a letter he wrote to Wolfgang in Munich in 1777, chronicling an unexpectedly boisterous Salzburg evening: ‘Last Friday Herr Kolb gave a grand concert to the foreign merchants. He played on the fiddle your Concerto and your Serenade and, as the music was so much praised and won extraordinary acclamation and applause, he announced “You have been hearing the compositions of a good friend who is no longer with us.” Whereupon they all cried out: “What a pity that we have lost him!” The concert took place in Eisenberger’s hall. When it was over they all got drunk and shouldered one another in processions round the room, knocking against the lustres, or rather against the large chandelier which hangs from the middle of the ceiling, so that they broke the centre bowl and other pieces, which will now have to be sent to Venice to be replaced.’

Mozart’s First Violin Concerto is also his first original concerto for any instrument. While a handful of earlier keyboard concertos were based on material by other composers, this work – dated 14 April 1773 – is entirely the product of his own imagination. Yet while a long way from attaining the greatness of his best concertos, it shows few signs of compositional inexperience. At 17, Mozart had already written more than 20 symphonies and seven operas, and his ready grasp of the skills of structural clarity, effective orchestral writing and affecting lyrical invention are certainly on display here. The first movement is as bouyant as such a movement should be, the orchestra poised and formal and the soloist mixing graceful melody with more angular fast-note figuration, while the slow movement is a gentle Adagio whose rich but placid air clearly owes something to Mozart’s operatic experience. The finale is a dialogue between soloist and orchestra which bustles with violinistic athletics, and whose scampering main theme recalls the mood of mid-century concertos by Haydn.

London Philharmonic Orchestra on Marquee TV • 5 March 2022 • Julia Fischer plays Mozart 1

PROGRAMME NOTES WOLFGANG AMADEUS MOZART 1756-91

VIOLIN CONCERTO NO. 2 IN D MAJOR, K211 1775

JULIA FISCHER violin/director 1 Allegro moderato 2 Adagio

3 Rondeau: Allegro a Vivaldian penchant for accompanying the soloist with only the upper orchestral strings – helps the whole work breathe a bright, clean air.

The Second Violin Concerto is the first of the four composed in rapid succession during the second half of 1775, and was completed on 14 June. It is not clear why violin concertos should have been such a preocupation at this time, but in Mozart’s day it was common practice to publish instrumental works in sets, and it is possible that he was hoping to get a decent number together for print.

The first movement’s mood is set by the little downward fanfare and the brief question-and-answer session that immediately follows it. The steady tread scarcely lets up from then on, and if the result can seem a little four-square, this is attractive music nonetheless. The Andante second movement is a tender stream of melody, with great warmth in the orchestral episodes and an effectively touching melancholy to the solo part.

A fair bit of water had flowed under the compositional bridge since the First Concerto of 1773. As well as two operas and ten symphonies, Mozart had produced in that time his first piano concerto, a bassoon concerto and also two orchestral serenades, both containing within their eight-movement structure a complete three-movement violin concerto. If this suggests that Mozart had settled into the groove of writing for violin and orchestra, as well as of concerto-writing in general, there is also enough about the work itself to indicate a greater level of experience. This is a grander concerto than its predecessor, more urbane and with a keener social polish. Mozart finds a new economy with his melodic material here, the orchestration is delicate, and a predominantly high solo part – coupled with

The finale, like those of all the violin concertos of 1775, is entitled ‘rondeau’, evidence perhaps that Mozart was aware of the concertos of Parisian violinists such as Gaviniès and Saint-Georges. More recognisably Mozartian, however, is the way in which the minuet-style main theme is stated first by the soloist, then taken up gladly by the full orchestra. The alternation between returns of this theme and lightly contrasted intervening episodes is also managed with a hint of the flair and charm that was to distinguish many of his later concertos, whether for violin, piano or clarinet.

London Philharmonic Orchestra on Marquee TV • 5 March 2022 • Julia Fischer plays Mozart 1

PROGRAMME NOTES WOLFGANG AMADEUS MOZART 1756-91

VIOLIN CONCERTO NO. 3 IN G MAJOR, K216 1775

JULIA FISCHER violin 1 Allegro

2 Adagio

3 Rondeau: Allegro Despite these peripatetic successes, it was Salzburg that was the real spiritual home of Mozart’s violin music. It was there – where violin concerto movements were as likely to be heard as outdoor entertainment music or as an embellishment to a church service as in a concert hall – that he first played a concerto at the age of seven, later toiled in the court orchestra, and as a teenager composed his five violin concertos – the first in 1773, and the remaining four in 1775. They may not probe the depths of his later, Viennese piano concertos, but it true to say that they all reveal some degree of Mozartian inspiration, often of the most ravishing kind. With their accent on lyricism and eloquent personal expressiveness rather than technical brilliance, they marked a new stage in the artistic development of the composer with whom, above all, such qualities were to become associated.

Although the prevailing image of Mozart the performer is that of a pianist, the part played by the violin in his early development as a musician was an equally important one. How, indeed, could it be otherwise when his father and teacher, Leopold, was the author of Violinschule, one of the 18th century’s most influential treatises on violin technique? Accounts of the child prodigy’s triumphs around Europe suggest that, at that stage at least, he was equally proficient on violin and keyboard, and right into the mid-1770s his letters home to his family contained reports of public appearances as a violinist: ‘I played Vanhal’s Violin Concerto in B flat, which was unanimously applauded’, he wrote from Augsburg in 1777. ‘In the evening at supper I played my Strasbourg Concerto, which went like oil. Everyone praised my beautiful, pure tone.’

Programme notes © Lindsay Kemp

N E X T S T R E A M E D C O N C E RT: J U L I A F I S C H E R P L AY S M OZ A R T 2

B ROA D C A S T S AT U R DAY 1 2 M A RC H 2 0 2 2 7 P M MOZART Violin Concerto No. 5 in A major, K219 MOZART Violin Concerto No. 4 in D major, K218 MOZART Sinfonia Concertante, K364 Julia Fischer violin Nils Mönkemeyer viola Thomas Søndergård conductor

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London Philharmonic Orchestra on Marquee TV • 5 March 2022 • Julia Fischer plays Mozart 1

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London Philharmonic Orchestra on Marquee TV • 5 March 2022 • Julia Fischer plays Mozart 1

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 Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

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London Philharmonic Orchestra on Marquee TV • 5 March 2022 • Julia Fischer plays Mozart 1

THANK YOU

Barry & Gillian Smith Mr David Southern Ms Mary Stacey Mr Simon Starr Mrs Margaret Thompson Philip & Katie Thonemann Mr Owen Toller Mrs Rose Tremain Ms Mary Stacey Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Mrs C Willaims Joanna Williams Mr Kevin Willmering Mr David Woodhead

HON. BENEFACTOR Elliott Bernerd

HON. LIFE MEMBERS Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt

THOMAS BEECHAM GROUP MEMBERS Chris Aldren David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker

CORPORATE DONORS

Barclays CHANEL Fund for Women in the Arts and Culture Pictet Bank

LPO CORPORATE CIRCLE LEADER freuds Sunshine

PRINCIPAL

Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

TUTTI

Lazard Russo-British Chamber of Commerce Walpole

TRIALIST

Allianz Musical Insurance Sciteb

PREFERRED PARTNERS

Gusbourne Estate Lidl Lindt & Sprüngli Ltd OneWelbeck Steinway

IN-KIND SPONSOR Google Inc

TRUSTS AND FOUNDATIONS

The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation

The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Marchus Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute Rothschild Foundation RVW Trust Schroder Charity Trust Scops Arts Trust Serge Rachmaninoff Foundation Sir William Boreman’s Foundation Souter Charitable Trust The Stanley Picker Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous. The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the COVID-19 pandemic.

BOARD OF THE AMERICAN FRIENDS OF THE LPO

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:

Simon Freakley Chairman Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Elizabeth Winter Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO INTERNATIONAL BOARD OF GOVERNORS

Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva (Russia) Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA)

London Philharmonic Orchestra on Marquee TV • 5 March 2022 • Julia Fischer plays Mozart 1

LONDON PHILHARMONIC ORCHESTRA ADMINISTRATION BOARD OF DIRECTORS

Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Mark Vines* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Jamie Njoku-Goodwin Andrew Tusa Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra) *Player-Director

ADVISORY COUNCIL Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank YolanDa Brown Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay MBE Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton

Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

FINANCE

Frances Slack Finance Director Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance and IT Officer

GENERAL ADMINISTRATION

EDUCATION AND COMMUNITY

Elena Dubinets Artistic Director David Burke Chief Executive Chantelle Vircavs PA to the Executive

Talia Lash Interim Education and Community Director

Rebecca Parslow Education and Community Project Manager

CONCERT MANAGEMENT

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

Roanna Gibson Concerts Director

Graham Wood Concerts and Recordings Manager

DEVELOPMENT

Fabio Sarlo Glyndebourne and Projects Manager Grace Ko Tours Manager

Nick Jackman Campaigns and Projects Director

Sarah Thomas Martin Sargeson Librarians

Kirstin Peltonen Development Associate

Laura Kitson Stephen O’Flaherty Stage Managers Freddie Jackson Assistant Stage Manager Felix Lo Orchestra and Auditions Manager

Harrie Mayhew Website Manager Gavin Miller Sales and Ticketing Manager Ruth Haines (née Knight) Press and PR Manager Sophie Harvey Digital and Residencies Marketing Manager Greg Felton Digital Creative Kiera Lockard Marketing Assistant

Gillian Pole Recordings Archive

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Andrew Chenery Orchestra Personnel Manager

Rachel Williams Publications Manager

Scott Tucker Development Events Manager

Anna Quillin Trusts and Foundations Manager

Matthew Freeman Recordings Consultant

Mairi Warren Marketing Manager