London Philharmonic Orchestra 3 Feb 2018 concert programme by London Philharmonic Orchestra

CONCERt programme

Changing Faces:

Stravinskyâ&#x20AC;&#x2122;s journey

february â&#x20AC;&#x201C; december 2018 royal festival hall

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader pieter schoeman supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 3 February 2018 | 7.30pm

Rimsky-Korsakov Fairy Tale, Op. 29 (13’) Glazunov Violin Concerto in A minor, Op. 82 (19’) Tchaikovsky (orch. Glazunov) Méditation from Souvenir d’un lieu cher, Op. 42 (6’) Interval (20’) Stravinsky Faun and Shepherdess, Op. 2, for mezzo-soprano and orchestra (9’) Stravinsky Symphony No. 1 in E flat, Op. 1 (38’)

Vladimir Jurowski conductor Kristóf Baráti violin Angharad Lyddon mezzo-soprano

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

Contents 2 Welcome LPO 2018/19 season 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Changing Faces: Stravinsky’s Journey 8 Vladimir Jurowski 9 Kristóf Baráti 10 Angharad Lyddon New on the LPO Label 11 Programme notes 15 Recommended recordings Next concerts 16 LPO 2017/18 Annual Appeal 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

LPO 2018/19 season

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

Out now The Spring/Summer 2018 edition of Tune In, our free twice-yearly magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic

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The 2018/19 LPO season is now announced! Browse online at lpo.org.uk or call us on 020 7840 4200 to request a season brochure by post. Booking opens on Tuesday 6 February online and via the LPO Box Office. To take advantage of priority booking (open now), become a Friend of the London Philharmonic Orchestra for as little as £60 a year. Call Ellie Franklin on 020 7840 4225 or visit lpo.org.uk/support/memberships Highlights of the new season include: Changing Faces: Stravinsky’s Journey We continue our year-long series, delving into some of the composer’s pioneering and provocative works from the 1940s onwards. We pay tribute to his extraordinary legacy, focusing particularly on the latter stages of his life in exile in Hollywood. Isle of Noises During 2019 we celebrate the music of Britain in this year-long festival. Not only will we explore a range of British music from Purcell, through Elgar, Bax and Walton to the present day, but we’ll also highlight key works by composers with interesting British connections, including music by Handel and Haydn. Opera in concert We are delighted to bring a variety of opera to the Royal Festival Hall concert platform next season: Vladimir Jurowski conducts Stravinsky’s The Rake’s Progress and brings us the second instalment of our Ring Cycle – Die Walküre. We also welcome acclaimed tenor Juan Diego Flórez for an evening of popular operatic arias, and are pleased to welcome back Opera Rara to jointly present Puccini’s first opera, Le Villi. New music Premieres of works by some of today’s most exciting living composers including Magnus Lindberg, Pascal Dusapin, Arne Gieshoff, Erkki-Sven Tüür, Helen Grime and Anders Hillborg. Complete Beethoven Piano Concertos The flamboyant young Spanish pianist Javier Perianes joins us for two evenings in February 2019 to perform Beethoven’s complete Piano Concertos. Browse the full season at lpo.org.uk/newseason

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

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

Yang Zhang Thomas Eisner Sarah Streatfeild Martin Höhmann Robert Pool Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Grace Lee Rebecca Shorrock Kana Kawashima Georgina Leo Morane Cohen-Lamberger Jacqueline Martens Second Violins Philippe Honoré Guest Principal Tania Mazzetti Co-Principal Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Nancy Elan Marie-Anne Mairesse Kate Birchall Ashley Stevens Robin Wilson Sioni Williams Lasma Taimina Judith Choi-Castro Ioana Forna

Violas David Quiggle Principal Robert Duncan Laura Vallejo Katharine Leek Benedetto Pollani Susanne Martens Stanislav Popov Martin Wray Alistair Scahill Martin Fenn Richard Cookson Julia Kornig Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Tom Roff Helen Rathbone Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Laurence Lovelle Damián Rubido González Lowri Morgan Charlotte Kerbegian

Flutes Juliette Bausor Principal Sue Thomas*

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

Chair supported by Victoria Robey OBE

David Whitehouse

Stewart McIlwham* Bass Trombone Lyndon Meredith Principal

Piccolo Stewart McIlwham* Principal

Tuba Lee Tsarmaklis* Principal

Oboes Ian Hardwick* Principal Alice Munday

Timpani Simon Carrington* Principal

Clarinets James Burke Guest Principal Thomas Watmough Paul Richards

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal

Bassoons Jonathan Davies Principal Gareth Newman Horns John Ryan* Principal Chair supported by Laurence Watt

Duncan Fuller Martin Hobbs Gareth Mollison Michael Gibbs Trumpets Paul Beniston* Principal Jason Evans Guest Principal Anne McAneney*

Chair supported by Friends of the Orchestra

Keith Millar Harp Rachel Masters Principal Assistant Conductor Matt Scott Rogers * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

Chair supported by Geoff & Meg Mann

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust • Dr Barry Grimaldi • Sir Simon Robey

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The LPO musicians really surpassed themselves in playing of élan, subtlety and virtuosity. Matthew Rye, Bachtrack, 24 September 2017 (Enescu’s Oedipe at Royal Festival Hall) Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. Celebrating its 85th anniversary this season, the Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and this season we celebrate the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Our year-long Belief and Beyond Belief festival in partnership with Southbank Centre ran

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throughout 2017, exploring what it means to be human in the 21st century. In 2018, we explore the life and music of Stravinsky in our new series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: the 2016/17 season included visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland, and tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France.

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. In 2017/18 we celebrate the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski; and Mozart and Rachmaninoff piano concertos performed by Aldo Ciccolini, again under Nézet-Séguin.

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

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Changing Faces: Stravinsky’s journey

Richard Bratby introduces our new festival, which runs throughout 2018 On 24 November 1944, a new musical called Seven Lively Arts opened at the Forrest Theatre, Philadelphia. The composer was Cole Porter, the producer was Billy Rose, and their aim was to make entertainment out of the greatest talents in contemporary art. Benny Goodman and Dolores Gray starred; Salvador Dali created artwork for the foyer. And right in the middle – setting the stamp of greatness on the show’s highbrow aspirations – was a new ballet by Igor Stravinsky. Rose had offered Stravinsky $5000 (the equivalent of over half a million today) for 15 minutes of music. But even so, he felt something wasn’t quite right. Luckily he had the top Broadway arranger Robert Russell Bennett on call. After the first night, he telegraphed Stravinsky: YOUR MUSIC GREAT SUCCESS. COULD BE SENSATIONAL SUCCESS IF YOU WOULD AUTHORISE ROBERT RUSSELL BENNETT RETOUCH ORCHESTRATION. Without missing a beat, Stravinsky telegraphed straight back: SATISFIED WITH GREAT SUCCESS. It’s a great story: and like the best Stravinsky stories, it’s also true. This is where Stravinsky was in the middle of the 20th century – a celebrity, a wit; a man who moved with total assurance between the biggest names in contemporary culture. You didn’t have to know anything about classical music to know that Stravinsky was the world’s greatest living composer: that his Russian name and long, angular face stood for the most modern kind of genius. ‘I’ve interviewed the great Stravinsky’, sang the heroine of Rodgers and Hart’s Pal Joey in 1940, and the orchestra responded with a dissonant shriek. A month earlier, Walt Disney had released Fantasia, in which cartoon dinosaurs cavorted to Stravinsky’s most notorious hit, The Rite of Spring. It played to millions. Why wouldn’t an ambitious Broadway producer want to get Stravinsky on board? And why wouldn’t a major orchestra want to celebrate his music? On one level, the question is redundant. Stravinsky’s great scores for the Ballets Russes – The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913) – are as central to modern concert life as Beethoven or Mahler. But as contemporaries sensed, there was more to Stravinsky than an explosion of innovation and colour just before the Great War. How did 6 | London Philharmonic Orchestra

Igor Stravinsky’s star on the Hollywood Walk of Fame. He was inducted in 1960 for his work in radio. a singer’s son from the Russia of Tsar Alexander III end up as the toast of jazz-age Paris? How did a highbrow European modernist find himself courted by Hollywood’s top studio bosses? And how did the most famous classical composer on earth suddenly – in the last two decades of his career – become more controversial than he’d ever been? From his birth into a Russia that had been unchanged for millennia, to his funeral in Venice in 1971, watched by the world’s TV cameras, Stravinsky’s changing faces reflected more than just music. Stravinsky’s journey is the story of Western culture in the 20th century. So if it sounds like the LPO has been here before – well, in a sense it has. ‘For me, this Stravinsky journey is the second edition of The Rest Is Noise’, says Vladimir Jurowski, referring to the year-long exploration of 20th-century music and art through which he led the Orchestra in 2013. Changing Faces: Stravinsky’s Journey revisits that story and refines the focus. ‘In The Rest Is Noise we couldn’t concentrate upon any one composer’, Jurowski explains. ‘But here we’ve chosen to go through the years with one particular composer who reflected an entire century. Sometimes it’s chronological; sometimes it’s stylistic. His works are accompanied by the works of the people who he knew personally, who surrounded him, who preceded or succeeded him.’ That’s a vital point. Stravinsky had a gift for putting himself wherever the cultural action was: whether in

music, visual art, literature, cinema, politics or even fashion. In the first years of the century, there was no artistic force more thrilling than Serge Diaghilev’s Ballets Russes. But Stravinsky went on to party with Cole Porter in Venice, to sleep with Coco Chanel in Paris, and on one famous occasion in May 1922, to have dinner with James Joyce, Marcel Proust and Pablo Picasso. (It didn’t go well: Joyce fell asleep on the table and Proust got on Stravinsky’s nerves). Mussolini courted him – happily with little success. After he moved to the USA in 1939 he socialised with Fred Astaire, Alfred Hitchcock, Greta Garbo and Man Ray, while fellow exiles ranging from Rachmaninoff to Gone With the Wind composer Max Steiner ate pirozhki and drank champagne at Stravinsky’s Hollywood home. His creative partnerships embraced Benny Goodman, George Balanchine, Jean Cocteau, WH Auden, TS Eliot and Modoc – a dancing elephant in Barnum & Bailey’s circus. So Changing Faces: Stravinsky’s Journey places his music in context alongside music that Stravinsky influenced and (perhaps less obviously) that influenced him. ‘We’re trying to follow Stravinsky’s life, and with him, to follow the development of music in the 20th century – because effectively he went through almost every style change’, says Jurowski. So the journey begins not with the three great Diaghilev ballets (though they certainly feature) but in the sumptuous world of Imperial Russia’s so-called ‘Silver Age’, placing Stravinsky’s youthful music next to that of his teacher Rimsky-Korsakov and the fairytale music of Anatoly Liadov who, by fumbling his commission for The Firebird, accidentally gave Stravinsky the biggest break of his career. There’s also a chance to hear the music of Alexander Glazunov – who Stravinsky later derided, but whose influence can be heard in every note of the 24-year-old Igor’s delightful Symphony in E flat. And the journey continues, through revolutions both artistic and political. In the wake of the First World War, Stravinsky led the way in creating something bold, new, and yet strangely familiar from the wreckage of a civilisation. ‘His style kept evolving and changing’, says Jurowski. ‘At first it was Italian baroque music that interested him, but later Bach – and again, later there were all sorts of other things.’ ‘Neo-classicism’, it’s been called, but no label can fully cover the wit of Stravinsky’s reinvention of Pergolesi in Pulcinella, his playful not-quite-mockery of German romantics like Weber and Schubert, and the timeless clarity of the classical

language he created on his own terms in works like Apollon musagète and the Symphony in C. ‘He used to call himself an inventor of music rather than a composer, and I don’t think he was deluding himself’, says Jurowski. ‘What I find fascinating is that whatever style he explores, he always makes it sound as if he alone, Igor Stravinsky, has invented this style. He has this chameleon-like ability – and at the same time this incredibly strong individual voice.’ That ability to make the musical world turn around him would stand Stravinsky in good stead in the later years of his career, and as well as his 1951 opera The Rake’s Progress, later LPO concerts in 2018 will examine his decision (as seismic in its time as Bob Dylan going electric) to embrace the 12-tone system. It’s one reason why contemporary composers find him so compelling: the series features Stravinsky-influenced premieres by Gerald Barry and Anders Hillborg, while Thomas Adès conducts Perséphone. But there are also glimpses of the sometimes unpredictable man behind the mask of genius. His love for Tchaikovsky and the lost Russia he embodied; his fondness for poker (translated into the brilliantly deadpan ballet Jeu de cartes), and his profound religious faith, expressed in the Symphony of Psalms – ‘composed for the glory of God’. His biographer Robert Craft – a prim progressive – was ‘astonished’ by the respect that Stravinsky showed to exiled Russian royalty. But Stravinsky never followed the modernist script. He wrote it. And that force of personality – that electrifying creativity – overflowed into everything he touched. Vladimir Jurowski remembers handling the manuscript of The Rite of Spring in the Paul Sacher Archive in Basel. ‘What struck me was the incredible artistic quality of the score, as draughtsmanship. If you look at it not as a musician but simply the way you would look at a piece of art, it looks like an incredible cubist or Futurist design.’ Genius will out, and Stravinsky himself gives the best rationale for following his journey from beginning to end, in a world whose face is changing faster than ever. ‘I live neither in the past nor the future. I am in the present. I can know only what the truth is for me today. That is what I am called upon to serve, and I serve it in all lucidity.’ Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. lpo.org.uk/stravinsky

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Vladimir Jurowski conductor

As Jurowski prepares to mark 10 years with the LPO, the understanding between them seems in great shape.

Martin Kettle, The Guardian, 29 January 2017

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007: this season we celebrate the tenth anniversary of this extraordinary partnership. One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. In 2017 Vladimir took up the position of Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra and Artistic Director of the George Enescu International Festival, Bucharest. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir is a regular guest with many leading orchestras in both Europe and North America, including the Royal Concertgebouw Orchestra; the Accademia Nazionale di Santa Cecilia, Rome; the New York Philharmonic; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco

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and Chicago symphony orchestras; and the TonhalleOrchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe. His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra National de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Salome with the State Academic Symphony of Russia; Moses und Aron at the Komische Oper Berlin; Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. In 2017 he made an acclaimed Salzburg Festival debut with Wozzeck and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the LPO. The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; and Rachmaninoff’s Symphony No. 3 and Symphonic Dances. Autumn 2017 saw the release of a sevendisc set of Tchaikovsky’s complete symphonies under Jurowski (LPO-0101), and a special anniversary sevendisc set of his previously unreleased recordings with the LPO spanning the symphonic, choral and contemporary genres (LPO-1010). Visit lpo.org.uk/recordings to find out more.

Kristóf Baráti violin

Baráti’s performance was, in a word, masterful. Probing, austere, meditative, it rang with a rare sense of authenticity and almost majestic scope.

Washington Post, 19 Jan 2015 (Bach’s Partita No. 2 in D minor)

Highlights of Kristóf Baráti’s 2017/18 season include his debut with the Los Angeles Philharmonic at Hollywood Bowl, and a return to London’s Cadogan Hall with Valery Gergiev and the Mariinsky Orchestra. Elsewhere he makes debuts with the ORF Vienna Radio Symphony both at home and on tour; the Verbier Festival Orchestra at Schloss Elmau; the Orchestre Philharmonique de Luxembourg; and the BBC Scottish Symphony, Lahti Symphony and Hague Philharmonic orchestras. He performs throughout Hungary in recital, chamber music and with orchestra, and with the Prague Philharmonia he will play/direct the complete concertos by Mozart at the Liszt Academy. In recital he undertakes a 17-concert recital tour of Germany, performs at Cologne’s Philharmonie with Trio Catch, and makes his debuts at the Stresa and Merano festivals in Italy, and in Hong Kong at the Hong Kong Cultural Centre. Kristóf Baráti most recently appeared with the London Philharmonic Orchestra in 2016, when in February he performed Khachaturian’s Violin Concerto under Andrés Orozco-Estrada at Royal Festival Hall and at Brighton Dome, and in September toured with the Orchestra to Hungary playing Mendelssohn’s Violin Concerto under Vladimir Jurowski. In previous seasons Kristóf has appeared with many other major orchestras worldwide with conductors including Kurt Masur, Marek Janowski, Jukka-Pekka Saraste, Andrew Manze, Mikhail Pletnev, Jakub Hrůša and Yuri Temirkanov, and he performs regularly with Valery Gergiev and the Mariinsky Orchestra. A regular recital and chamber music player, he has performed with partners such as Jean-Efflam Bavouzet, Mischa Maisky, Yuri Bashmet, Miklós Perényi, Kim Kashkashian and the late Zoltán Kocsis, among others. Recent

highlights have included recitals in Paris, Chicago and New York, and in 2017 he returned to the White Nights Festival in St Petersburg for a televised recital with pianist Nikolai Lugansky. Kristóf Baráti has an extensive discography that includes the five Mozart concertos, the complete Beethoven and Brahms sonatas with Klára Würtz and Ysaÿe’s solo sonatas, all for Brilliant Classics; and J S Bach’s sonatas and partitas for solo violin on the Berlin Classics label. Of a recent disc of encores, Gramophone magazine wrote: ‘For those who like to hear the violin played at its sweet and acrobatic best, Baráti is out of the top drawer.’ Having spent much of his childhood in Venezuela, where he played as soloist with many of the country’s leading orchestras, Kristóf Baráti returned to Budapest to study at the Franz Liszt Academy of Music and was later mentored by Eduard Wulfson, himself a student of Nathan Milstein and Yehudi Menuhin. Still resident in Budapest, he performs in Hungary regularly, and together with István Vardái is Artistic Director of the Kaposvár International Chamber Music Festival. Kristóf plays the 1703 ‘Lady Harmsworth’ made by Antonio Stradivarius, kindly offered by the Stradivarius Society of Chicago. kristofbarati.com

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Angharad Lyddon

mezzo-soprano

Mezzo-soprano Angharad Lyddon is a graduate of the Royal Academy of Music, London, where her roles for Royal Academy Opera included Lucretia in The Rape of Lucretia, Baba the Turk in The Rake’s Progress, Zita in Gianni Schicchi, Filipyevna in Eugene Onegin and Madame de la Haltière in Cendrillon. Angharad made her professional debut for English National Opera in 2015 as Kate in Pirates of Penzance, and performed the role again in its 2017 revival. She has also understudied Perdita in The Winter’s Tale and Schoolboy, Dresser and Waiter in Lulu for English National Opera. She created the role of Panthea in Luke Styles’s opera Wakening Shadow whilst a Jerwood Young Artist at Glyndebourne in 2013, and has performed Olga in

Eugene Onegin for Opra Cymru, Cherubino in The Marriage of Figaro for Clonter Opera, Julia Bertram in Mansfield Park for The Grange Festival and Suzuki in Madam Butterfly for Salon Opera, London. Other roles covered include Polinesso in Ariodante and Alto in Trauernacht – a staging of Bach cantatas – for the Aix-en-Provence Festival. Angharad is a Samling Artist and her concert highlights include Bach cantatas with Sir John Eliot Gardiner; Bach’s Christmas Oratorio in Kristiansand, Norway; and concerts at Wigmore Hall. Her awards include Semi-finalist at the Wigmore Hall International Song Competition; Second Prize at the International Voice of the Future, Llangollen International Eisteddfod; Third Prize at Das Lied International Song Competition 2015; and Finalist at the Maureen Lehane Vocal Awards, Wigmore Hall. Future engagements include understudying Hermia in A Midsummer Night’s Dream for English National Opera this spring.

New CD release on the LPO Label Aldo Ciccolini plays Mozart and Rachmaninoff Mozart Piano Concerto No. 20 in D minor, K466 Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 Aldo Ciccolini piano Yannick Nézet-Séguin conductor London Philharmonic Orchestra LPO-0102 | £9.99 Recorded live at Southbank Centre’s Royal Festival Hall, London, on 12 October 2011 (Mozart) and 27 May 2009 (Rachmaninoff).

Available now 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

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Programme notes

Speedread To modern eyes, the world in which Igor Stravinsky began his journey seems as remote as a fairy tale. Russia under the last Romanoffs was an empire of country estates and peasant farmers, of glittering pomp and ancient religion. Stravinsky’s father came from a long line of minor aristocracy; as a singer in the Imperial Opera in St Petersburg, he moved in artistic circles. When Igor abandoned law to become a composer, he studied from 1905–08 with Nikolai Rimsky-Korsakov, the pre-eminent surviving member of the so-called ‘mighty handful’ – the five composers who in the 1870s and 80s had fought to establish a distinctively Russian school of symphonic music, grounded in folklore.

Nikolai Rimsky-Korsakov

Stravinsky would later tell different, sometimes conflicting, stories about his musical roots. He always revered the memory of Rimsky-Korsakov, though he came to regard Tchaikovsky as the most truly Russian of all composers. He could be contemptuously dismissive of Rimsky’s great friend and protégé Alexander Glazunov. In fact, each of these different composers had a profound influence on the emergence of Stravinsky’s own musical voice – leaving traces of musical DNA that can be detected in everything he wrote.

Fairy Tale (Skazka), Op. 29

1844–1908

On seashore far a green oak towers, And to it with a gold chain bound, A learned cat whiles ‘way the hours By walking slowly round and round. To right he walks, and sings a ditty; To left he walks, and tells a tale ... Lines from Pushkin’s prologue to Ruslan and Ludmila head the score of the symphonic poem Skazka (‘Fairy Tale’), which Nikolai Rimsky-Korsakov wrote in August 1880 in the country village of Stelyovo, as a break from work on his opera The Snow Maiden. He came to regret that decision, as listeners, hearing the piece’s slow, moody introduction (is that the cat ‘walking slowly round and round’?) tried to work out which specific Russian fairy tales were being told. There’s some suggestion that he’d originally based it

on the legend of Baba Yaga – the old witch who lives in a flying house on hen’s legs – and some of the faster sections certainly sound distinctly devilish. But in later years, he preferred to leave it to the listener. ‘By quoting Pushkin’s prologue, I wished only to show that my Fairy Tale was firstly Russian, and secondly, magical’, he explained in his memoirs. ‘Let everyone use their own imagination.’

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Programme notes continued

Alexander Glazunov 1865–1936

Rimsky-Korsakov never forgot the day in December 1879 when he first met the 15-year-old Alexander Glazunov. ‘He was a charming boy, with beautiful eyes, who played the piano very clumsily. Elementary theory proved unnecessary for him, as he had a superior ear […] after a few lessons in harmony I took him directly into counterpoint, to which he applied himself zealously […] His musical development progressed not by the day, but literally by the hour.’ By March 1882, when Glazunov’s First Symphony was premiered, there was talk of a ‘Russian Mozart’. ‘The audience was astonished’, recalled Rimsky-Korsakov, ‘when, in response to calls for the composer, a 17-year-old boy took the stage in his school uniform.’ Glazunov was a cellist, but he taught himself to play almost every orchestral instrument to a professional standard, and his only Violin Concerto – written in the summer of 1904, at his country dacha at Ozerki outside St Petersburg – was recognised immediately as one of the most natural, most idiomatic and most

Leonore Piano Trio at Wigmore Hall: LPO Benevolent Fund charity concert Sunday 22 April 2018 | 7.30pm | Wigmore Hall A special fundraising concert by the Leonore Trio in aid of Marie Curie and the LPO Benevolent Fund, which provides crucial financial support to LPO musicians unable to work through illness or injury. Haydn Piano Trio in E flat major, HXV:29 Parry Piano Trio No. 1 in E minor Schubert Piano Trio in B flat major, D898 Tickets £15–£25: book via wigmore-hall.org.uk

12 | London Philharmonic Orchestra

Violin Concerto in A minor, Op. 82 Kristóf Baráti violin 1 Moderato – Andante – 2 Cadenza – 3 Allegro

gloriously songful showpieces for that instrument since Mendelssohn. Glazunov knew better than anyone how to make an orchestra sparkle and how to make a melody sing. And from the very first bars of the Violin Concerto, that’s precisely what he does. Over pulsing woodwind chords, the violin sings: a smoky, syncopated melody, deep on the violin’s lowest string. It doesn’t stay there long, and as woodwinds call and respond, the solo violin sinks into a melting second theme. A development section follows: the opening themes sail by and the orchestra falls away, leaving the violin alone in the concerto’s central Cadenza. This is the turning point of the Concerto; as the violin, unaccompanied, works through everything we’ve heard so far. Horns sound quietly in the distance, and then, with a drum roll and a fanfare, it’s time to dance. The violin leads the orchestra in a lilting jig; the woodwinds pirouette, the glockenspiel glitters and finally orchestra and soloist break into a headlong, brilliant run for the finish. Cymbals burst like fireworks over the closing bars.

Pyotr Ilyich Tchaikovsky

Méditation from Souvenir d’un lieu cher, Op. 42 orch. Alexander Glazunov Kristóf Baráti violin

1840–93

Stravinsky saw Tchaikovsky only once – he was around 11 years old when he glimpsed him in the foyer of the Imperial Opera in St Petersburg after a performance of Glinka’s Ruslan and Ludmila. It was the autumn of 1893. Tchaikovsky died just weeks later, and that one glimpse of the composer whom Stravinsky later loved above all other Russian masters, would become, he recalled, ‘one of my most treasured memories’. ‘I think that the beginning of my conscious life as artist and musician dates from this time’, he wrote in his autobiography.

The little triptych of miniatures for violin and piano (orchestrated by Glazunov in 1896) that Tchaikovsky called Souvenir d’un lieu cher grew out of the opening Méditation. Written in Switzerland in March 1878, he originally intended it as the slow movement of his Violin Concerto, but later decided it was too modest in scope. After returning to Russia, he spent a fortnight in May 1878 at Brailovo, the idyllic country estate of his patroness Nadezhda von Meck, and there he wrote two companion pieces for the Méditation: a Scherzo and a Mélodie. In gratitude to Mme von Meck, Tchaikovsky dedicated them ‘To B…….’ – Brailovo itself, the ‘dear place’ of the work’s title.

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

Igor Stravinsky

Faun and Shepherdess, Op. 2, for mezzo-soprano and orchestra Angharad Lyddon mezzo-soprano

1882–1971

Pushkin inspired not only Rimsky-Korsakov but the young Stravinsky too; no educated Russian of Stravinsky’s generation could ignore him. In this little ‘song suite’, composed under Rimsky-Korsakov’s supervision in 1906 and premiered in the same private concert as the First Symphony in April 1907, he takes a trio of Pushkin’s poems, telling a gently erotic mockclassical tale of a young girl’s flight from a lecherous

faun, and finds in them a surprisingly romantic scope for musical drama and orchestral colour. It sounds, he said in later years, ‘like Wagner in places, like Tchaikovsky’s Romeo et Juliet in other places (but never like Rimsky-Korsakov, which must have troubled that master)’. Having earlier this evening heard Fairy Tale, you might suspect that he meant that last comment to be taken with a pinch of salt.

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Programme notes continued

Igor Stravinsky 1882–1971

‘Symphony No. 1 in E flat, Op. 1’: could there be any prouder way for a young composer to announce his arrival in the world? Stravinsky had begun his Op. 1 during 1905 on his family estate at Ustilug (in modern Ukraine): Rimsky-Korsakov supervised its composition almost page by page. ‘As soon as I finished one part of a movement I used to show it to him, so that my whole work, including the instrumentation, was under his control’, he recalled. He was 25 years old when it was first performed at a private concert in St Petersburg on 27 April 1907, and he dedicated it, of course, to ‘my dear teacher N.A. Rimsky-Korsakov’. None of this would necessarily have raised too many eyebrows in Russian musical circles. Graduation symphonies were almost a tradition amongst composers of the nationalist St Petersburg school: Rimsky-Korsakov had composed his First as a 21-yearold naval officer; Borodin’s first substantial work had been a symphony (also in E flat) and Glazunov had astonished the world with his own First Symphony at the age of 17. Rimsky-Korsakov belonged to the first fully professional generation of Russian nationalist composers, and there was a sense of Russian music racing to catch up with the West. As soon as they were ready, ambitious young composers hurled themselves straight at Western music’s most hallowed form. And Stravinsky was surrounded by excellent models. With Rimsky-Korsakov having coached him in orchestration, and Borodin serving as an example of how to craft (and develop) folk-like themes, it’s no surprise that Stravinsky’s graduation piece speaks the colourful language of Russian nationalist symphonism with exuberant assurance. But the overwhelming flavour – noticeable both in the confident sense of classical form, and the Symphony’s glowing instrumental colours – is of a composer Stravinsky

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Symphony No. 1 in E flat, Op. 1 1 Allegro moderato 2 Scherzo: Allegretto 3 Largo 4 Finale: Allegro moderato

later came to disdain. ‘I wrote this Symphony at a time when Glazunov reigned supreme’, he remembered. ‘At that time I shared this admiration wholeheartedly.’ Glazunov attended the premiere (‘very nice, very nice’ was his reaction), and if you know his Fourth, Sixth or Eighth symphonies, moments in Stravinsky’s First might sound distinctly familiar. If not: just enjoy its romanticism, its vigour and the unmistakably Russian cut of its melodies. The first movement borrows its heroic sweep from Borodin; the Scherzo cribs Glazunov’s bejewelled, feather-light woodwind writing (Diaghilev loved this movement enough to use it as an entr’acte between Ballets Russes performances). The Largo finds a vein of melancholy that Tchaikovsky might have recognised (there’s a touch of Wagner’s magic fire too), and the finale has the sort of jubilant Imperial swagger that would later give the Soviets such dangerous ideas about Russian music. For now, though, it merely conveys an irresistible impression of a young genius with a long way to fly, stretching the new-fledged wings that would shortly bear the shimmering plumage of The Firebird. Programme notes © Richard Bratby

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. Rimsky-Korsakov: Fairy Tale Oliver Knussen| The Cleveland Orchestra (Deutsche Grammophon) Glazunov: Violin Concerto Frank Peter Zimmerman| London Philharmonic Orchestra | Franz Welser-Möst (EMI Classics) or Jascha Heifetz | London Philharmonic Orchestra | Sir John Barbirolli (EMI Classics) Tchaikovsky (arr. Glazunov) – Méditation Itzhak Perlman | Israel Philharmonic Orchestra | Zubin Mehta (Warner) Stravinsky: Symphony No. 1 Royal Scottish National Orchestra | Neeme Järvi (Chandos) or St Petersburg Philharmonic Orchestra | Vladimir Ashkenazy (Decca)

Next concerts at Southbank Centre’s Royal Festival Hall wednesday 7 february 2018 7.30pm

Stravinsky Scherzo fantastique Stravinsky Funeral Song Rimsky-Korsakov Piano Concerto Stravinsky The Firebird (original version) Vladimir Jurowski conductor Alexander Ghindin piano

SATURDAY 10 february 2018 7.30pm

Liadov Baba Yaga Liadov The Enchanted Lake Liadov Kikimora Prokofiev Violin Concerto No. 2* Stravinsky Petrushka (original version) Vladimir Jurowski conductor Ray Chen violin * Please note a change to the advertised concerto.

Jurowski conducts Stravinsky on the LPO Label Petrushka Symphonies of Wind Instruments Orpheus: ballet in three scenes Vladimir Jurowski conductor London Philharmonic Orchestra LPO-0091 | £9.99

WEDNESDAY 21 february 2018 7.30pm

Debussy Printemps Ravel Piano Concerto for the Left Hand Delius Idylle de Printemps Stravinsky The Rite of Spring Juanjo Mena conductor Benedetto Lupo piano

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

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

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2017/18 annual appeal

Sharing the Wonder 30 years of music for all

For 30 years we have taken ourselves off the concert platform and out into the world around us, driven by the desire to share the power and wonder of orchestral music with everyone. We strive to create stories and experiences that others will call their own. From planting the seed in those who have never heard orchestral music to reawakening others to joys they may have forgotten. We work to awaken passions, develop talent and nurture ability. Help us celebrate this 30th year of the London Philharmonic Orchestra’s Education and Community Programme by giving to our Appeal. Your gift will support us as we invest in the creation of future experiences. Together we can unlock discoveries not only in musical abilities, but also in confidence, creativity and self-belief; helping create stories of change and journeys of progression.

£30

will contribute to our work, wherever we need it most

£50

will hire a venue for a 30-minute mentor session for an LPO Junior Artist

£85

will hire a set of 30 chime bars for Creative Classrooms

£120

will pay for a class of 30 children to attend a subsidised BrightSparks concert

£300

will pay for 30 teacher resource packs, used prior to attending a BrightSparks concert

£500

will pay for 30 teachers to attend a musical INSET training day

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

lpo.org.uk/appeal

Sound Futures donors

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

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Thank you

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

Artistic Director’s Circle An anonymous donor Victoria Robey OBE Orchestra Circle The Tsukanov Family Principal Associates An anonymous donor The Candide Trust Alexander & Elena Djaparidze Mr & Mrs Philip Kan Mr & Mrs Makharinsky Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Dr James Huang Zheng (of Kingdom Music Education Group) Associates Steven M. Berzin Gabor Beyer Kay Bryan William & Alex de Winton Virginia Gabbertas Oleg & Natalya Pukhov George Ramishvili Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre Gilly de Varennes de Bueil Hamish & Sophie Forsyth Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan

Geoff & Meg Mann Tom & Phillis Sharpe The Viney Family Laurence Watt Guy & Utti Whittaker Silver Patrons Michael Allen Mrs Irina Gofman David Goldberg Mr Gavin Graham Mr Roger Greenwood Pehr G Gyllenhammar Catherine Høgel & Ben Mardle Matt Isaacs & Penny Jerram Rose & Dudley Leigh Mrs Elizabeth Meshkvicheva The Metherell Family Mikhail Noskov & Vasilina Bindley Jacopo Pessina Brian & Elizabeth Taylor Bronze Patrons Anonymous donors Dr Christopher Aldren Mrs Margot Astrachan Mrs A Beare Richard & Jo Brass Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Richard Buxton John Childress & Christiane Wuillaimie Mr Geoffrey A Collens Mr John H Cook Bruno De Kegel Georgy Djaparidze David Ellen Ulrike & Benno Engelmann Ignor & Lyuba Galkin Mr Daniel Goldstein Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home

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Mr Glenn Hurstfield Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein Mrs Anne Storm Sergei & Elena Sudakov Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Principal Supporters An anonymous donor Ralph & Elizabeth Aldwinckle Roger & Clare Barron Mr Geoffrey Bateman David & Patricia Buck Dr Anthony Buckland Desmond & Ruth Cecil Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Mr Peter Cullum CBE Mr Timonthy Fancourt QC Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Mr Raphaël Kanzas

Rehmet Kassim-Lakha de Morixe Mr Colm Kelleher Peter Kerkar Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Peter Mace Brendan & Karen McManus Kristina McPhee Andrew T Mills Randall & Maria Moore Dr Karen Morton Olga Pavlova Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Tatiana Pyatigorskaya Mr Christopher Querée Martin & Cheryl Southgate Matthew Stephenson & Roman Aristarkhov Mr Christopher Stewart Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney DBE Mr David Devons Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer Sabina Fatkullina

Mrs Janet Flynn Christopher Fraser OBE The Jackman Family Mrs Irina Tsarenkov Mr David MacFarlane Mr John Meloy Mr Stephen Olton Robin Partington Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw Ms Natalie Spraggon Michael & Katie Urmston Damien & Tina Vanderwilt Timothy Walker AM Mr John Weekes Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (Hong Kong) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China)

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: William A. Kerr Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee David Oxenstierna Natalie Pray Stephanie Yoshida Anthony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners Giberg Goldman Sachs Pictet Bank White & Case LLP Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce

Bronze Accenture Ageas Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company

Adam Mickiewicz Institute Newcomen Collett Foundation The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

London Philharmonic Orchestra | 19

Administration

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

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Project Manager