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

b e m ov e d 2017/18 Season at Southbank Centreâ&#x20AC;&#x2122;s Royal Festival Hall Concert programme

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

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

Elgar In the South (Alassio), Op. 50 (20’) R Strauss Four Last Songs (25’) Interval (20’) Brahms Symphony No. 2 in D major, Op. 73 (39’)

Sir Antonio Pappano conductor Diana Damrau soprano Concert generously supported by Sir Simon and Lady Robey.

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

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Sir Antonio Pappano 7 Diana Damrau 8 Programme notes 10 Four Last Songs texts 12 Programme notes continued 13 Recommended recordings New on the LPO Label 14 Next concerts 15 LPO 2017/18 Annual Appeal 16 2018/19 season: on sale now 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

Orchestra news

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, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Honest Burger, Côte Brasserie, 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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LPO 2018/19 season: on sale now The LPO 2018/19 season is now on sale – turn to page 16 to find out more. You can browse and book online at lpo.org.uk/newseason or call us on 020 7840 4200 to request a season brochure by post. Glyndebourne 2018 – booking opens tomorrow As Resident Symphony Orchestra at Glyndebourne Festival Opera since 1964, we always look forward to our summer months spent in the Sussex opera house. Booking for the 2018 Festival opens tomorrow, Sunday 4 March, and we launch the season on 19 May with Puccini’s glorious Madama Butterfly conducted by Omer Meir Wellber (running until 18 July). Over the summer we’ll also perform Strauss’s Der Rosenkavalier (20 May–26 June) and Debussy’s Pelléas et Mélisande under Glyndebourne Music Director Robin Ticciati (30 June–9 August); and Barber’s rarely performed, Pulitzer Prize-winning opera Vanessa under Jakub Hrůša (5–26 August). For more details visit glyndebourne.com

New on the LPO Label: Shostakovich Symphony No. 7 (‘Leningrad’) This month’s CD release on our LPO Label is Shostakovich’s Symphony No. 7 conducted by Kurt Masur, recorded live in concert at Royal Festival Hall in 2003 (LPO-0103). The CD is priced at £9.99 and, along with 100+ other titles on the label, is available to buy from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Our recordings are also available to download or stream via iTunes, Amazon Spotify and others.

Wigmore Hall charity concert: LPO Benevolent Fund On Sunday 22 April at 7.30pm, the Leonore Piano Trio will give a special fundraising concert at Wigmore Hall 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. The programme will include Schubert’s Piano Trio No. 1 in B flat and works by Haydn and Parry. Tickets are priced from £15–£25 and can be booked via wigmore-hall.org.uk.

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Vesselin Gellev Sub-Leader JiJi Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Grace Lee Rebecca Shorrock Amanda Smith Eleanor Bartlett Second Violins Tania Mazzetti Principal Helena Smart Nancy Elan Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Lorenzo Gentili-Tedeschi Robin Wilson Sioni Williams Harry Kerr Sheila Law Georgina Leo Kate Cole

Violas David Quiggle Principal Michael Casimir Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Stanislav Popov Daniel Cornford Isabel Pereira Martin Fenn Cellos Pei-Jee Ng Principal Francis Bucknall David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Helen Rathbone Sibylle Hentschel Philip Taylor Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal George Peniston Laurence Lovelle Damián Rubido González Tom Walley Charlotte Kerbegian Samuel Rice

Flutes Sue Thomas* Principal

Trumpets Paul Beniston* Principal Niall Keatley Guest Principal Anne McAneney*

Chair supported by Victoria Robey OBE

Emilia Zakrzewska Marta Santamaria Stewart McIlwham*

Chair supported by Geoff & Meg Mann

Trombones Mark Templeton* Principal

Piccolos Stewart McIlwham* Principal Marta Santamaria

Chair supported by William & Alex de Winton

David Whitehouse Bass Trombone Simon Minshall

Oboes Ian Hardwick* Principal Amy Roberts

Tuba Lee Tsarmaklis* Principal

Cor Anglais Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Timpani Matthew Perry Guest Principal

Clarinets Timothy Lines Guest Principal Thomas Watmough

Percussion Henry Baldwin Principal Chair supported by Friends of the Orchestra

Keith Millar Oliver Yates

Bass Clarinet Paul Richards* Principal Bassoons Jonathan Davies Principal Gareth Newman Contrabassoon Simon Estell* Principal Horns David Pyatt* Principal

Harps Rachel Masters Principal Ruth Faber Celeste Catherine Edwards * Holds a professorial appointment in London

Chair supported by Sir Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

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: David & Yi Buckley • The Candide Trust • Andrew Davenport • Bianca & Stuart Roden

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London Philharmonic Orchestra

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

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ran 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 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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Sir Antonio Pappano conductor

Pappano was incandescent, inspiring his orchestra and chorus to marvels of drama in the big scenes, yet also wondrously detailed, revealing textures in this masterly score of breathtaking transparency and delicacy. Hugh Canning, The Sunday Times, 28 April 2015 (Verdi’s Aida with the Orchestra dell’Accademia Nazionale di Santa Cecilia)

Sir Antonio Pappano has been Music Director of the Royal Opera House, Covent Garden, since 2002, and Music Director of the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome since 2005. Nurtured as a pianist, repetiteur and assistant conductor at many of the most important opera houses of Europe and North America, Pappano was appointed Music Director of Oslo’s Den Norske Opera in 1990, and from 1992– 2002 served as Music Director of the Théâtre Royal de la Monnaie in Brussels. From 1997–99 he was Principal Guest Conductor of the Israel Philharmonic Orchestra. Pappano made his debut at the Vienna Staatsoper in 1993 with Wagner’s Siegfried, his debut at the Metropolitan Opera New York in 1997 with Eugene Onegin, and in 1999 conducted Lohengrin at the Bayreuth Festival. His repertoire at the Royal Opera House has been notably wide-ranging, generating acclaim in productions including Ariadne auf Naxos, Wozzeck, Falstaff, La bohème, Don Giovanni, Aida, Lady Macbeth of Mtsensk, Il trittico, Fidelio, Parsifal, Il barbiere di Siviglia, Der Ring des Nibelungen, Lulu, Les Vêpres Siciliennes, Guillaume Tell, Andrea Chenier and Szymanowski’s Król Roger, Harrison Birtwistle’s The Minotaur and Mark-Anthony Turnage’s Anna Nicole. Recently he has led new productions of Boris Godunov, Cavalleria Rusticana and I Pagliacci, Norma and Otello, and revivals of Manon Lescaut and Die Meistersinger von Nurnberg. In the 2017/18 season and beyond he conducts new productions of La bohème and Semiramide, and revivals of Macbeth, Lady Macbeth of Mtsensk and Der Ring des Nibelungen. Pappano has appeared as a guest conductor with many of the world’s most prestigious orchestras including the Berlin, Vienna, New York and Munich

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Philharmonic orchestras; the Royal Concertgebouw Orchestra; the Chicago and Boston symphony orchestras; the Philadelphia and Cleveland orchestras; and the Orchestre de Paris. Recent highlights include his debut with the London Philharmonic Orchestra at the Aldeburgh Festival; performances at the BBC Proms and the Bucharest Festival with the Accademia Nazionale di Santa Cecilia; his debut with the Verbier Festival Orchestra; and returns to the Berlin and New York Philharmonics. Future appearances include debuts with the Staatskapelle Dresden and the Bavarian Radio Symphony; returns to the Royal Concertgebouw Orchestra and the Staatskapelle Berlin; and tours of Europe, Asia and the US with the Accademia Nazionale di Santa Cecilia. Pappano has been an exclusive recording artist for Warner Classics (formerly EMI Classics) since 1995, and his recent recording of Aida was named Recording of the Year at the 2016 BBC Music Magazine Awards. As a pianist, he appears as an accompanist with some of the most celebrated singers including Joyce DiDonato, Gerald Finley and Ian Bostridge. His awards include Gramophone’s ‘Artist of the Year’ in 2000, the 2003 Olivier Award for Outstanding Achievement in Opera and the 2004 Royal Philharmonic Society Music Award. In 2012 he was created a Knight of the British Empire for his services to music, and in 2015 he was named the 100th recipient of the Royal Philharmonic Society’s Gold Medal, the body’s highest honour. He has also developed a notable career as a speaker and presenter, and has fronted several BBC Television documentaries including ‘Opera Italia’, ‘Pappano’s Essential Ring Cycle’ and ‘Pappano’s Classical Voices’.

Diana Damrau soprano

The leading coloratura soprano in the world.

The New York Sun

German soprano Diana Damrau has been performing on the world’s leading opera and concert stages for two decades. Her vast repertoire spans both lyric soprano and coloratura roles including the title roles in Lucia di Lammermoor (La Scala, Bavarian State Opera, Metropolitan Opera, Royal Opera House), Manon (Vienna State Opera, Metropolitan Opera) and La traviata (La Scala, Metropolitan Opera, Royal Opera House, Opéra national de Paris, Bavarian State Opera), as well as Queen of the Night in The Magic Flute (Metropolitan Opera, Salzburg Festival, Vienna State Opera, Royal Opera House). Diana Damrau has forged close links with the Bayerische Staatsoper in Munich, where she currently holds the position of ‘Kammersängerin’. At the Metropolitan Opera in New York she has performed her signature roles, broadcast in HD to cinemas globally, and made seven role debuts since her own debut there as Zerbinetta in 2005. At La Scala Milan she has twice participated in the annual opening performance. Recording exclusively for Warner/Erato (formerly EMI/ Virgin Classics), Diana Damrau made her recording debut with Arie di Bravura – a collection of Mozart and Salieri arias. Subsequent solo releases have included Donna, COLORaturaS, Poesie (ECHO Klassik Prize 2011), Forever (ECHO Klassik Prize 2014) and Fiamma del Belcanto. In May 2017 her album Grand Opera was released, dedicated to the works of Meyerbeer.

2017/18 season highlights include Diana’s return to the Bayerische Staatsoper as Violetta in La traviata. Furthermore, she will make her debut in the role of Marguérite in Faust at the Deutsche Oper Berlin and appear in Meyerbeer’s Les Huguenots at the Opéra de Paris. At the beginning of 2018 Diana Damrau was invited to perform at the Dresdner Semperopernball with bassbaritone Nicolas Testé. During February, together with tenor Jonas Kaufmann and pianist Helmut Deutsch, she performed Wolf’s Italienisches Liederbuch on a European tour, appearing at renowned concert halls in Berlin, London, Paris, Luxembourg and Vienna, followed by a second European tour entitled VERDIssimo. In July she gives a concert at the open-air ‘Klassik am Odeonsplatz’ event in Munich with the Bavarian Radio Symphony Orchestra under Robin Ticciati. Another highlight this summer will be the world premiere of Iain Bell’s Aurora: Concerto for Coloratura Soprano at the BBC Proms at the Royal Albert Hall on 29 August, with the Royal Liverpool Philharmonic Orchestra under Vasily Petrenko. Further ahead, plans include the title role in a new production of La traviata at the Metropolitan Opera and the role of Marguérite in Faust at the Royal Opera House, Covent Garden.

General Management Concerts, Tours & Media of Diana Damrau: CCM Classic Concerts Management, www.ccm-international.de Diana Damrau records exclusively for Erato/Warner Classics. www.diana-damrau.com

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Programme notes

Speedread When Richard Strauss heard Edward Elgar’s music for the first time, he acclaimed the Worcestershire-born composer outright. Here, from a ‘land (supposedly) without music’, was a figure steeped in Strauss’s brand of programmatic composition. Elgar was certainly influenced by the Bavarian composer’s vivid tone-poems, not least the expansive Ein Heldenleben, when he decided to halt work on his First Symphony in late 1903 and instead write the concert overture that opens tonight’s concert. We then hear from Strauss the songsmith, specifically four Lieder written at the very end of his life. Reflecting on human frailty,

Edward Elgar

as well as the horrors of the recent Second World War, Strauss’s Four Last Songs offer some of his most unguarded utterances, filled with voices from his long life. As a young man, acting as Hans von Bülow’s assistant in the German court town of Meiningen, Strauss had witnessed the premiere of Brahms’s Fourth Symphony, a work of intense contrapuntal ingenuity. But it is the composer’s seemingly more tranquil Second Symphony that closes tonight’s programme. For all its pastoral charms, this score likewise reveals signs of great struggle and, eventually, triumph.

In the South (Alassio), Op. 50

1857–1934

In late 1903, Elgar was supposed to be completing his First Symphony. The work had been promised for a premiere at the Royal Opera House, Covent Garden, in March 1904. It was to form the centrepiece of an Elgar Festival that marked the composer’s coming of age, largely due to the national and, indeed, international success of his 1899 Variations on an Original Theme (‘Enigma’) and The Dream of Gerontius, first performed in Birmingham in 1900. Although the premiere of that oratorio had not been an enormous success, later performances encouraged Richard Strauss, no less, to call Elgar ‘the first English progressivist’. Progressive he may have been, but Elgar was making little progress on his First Symphony while holidaying in Italy in December 1903. Indeed, the Symphony would have to wait until 1908 for its world premiere. During that sojourn in the seaside town of Alassio, in the north-

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western region of Liguria, Elgar did, however, manage to write a new concert overture entitled In the South, with its place of composition included as a subtitle. Inspired by Berlioz’s Byronic Harold in Italy, as well as Strauss’s recent tone-poems, specifically Ein Heldenleben (in the same key of E flat major), Elgar completed the overture in time for the closing concert of the 1904 Elgar Festival. This 20-minute work is a grand reflection on the history of the Italian peninsula, ‘a land’, as Byron wrote in Childe Harold, ‘which was the mightiest in its old command and is the loveliest’. Reflecting Byron’s words, Elgar’s extended sonata-form overture pits bold, muscular themes, representing ‘the mightiest’, against a second group of melodies, more pastoral in vein and reflecting on the country’s ‘loveliest’ landscape. The development section’s passages of brute force signify the harshness of Roman rule, while a solo viola (as in Berlioz’s Harold

in Italy) plays a contrastingly simple folksong, later arranged by Elgar as ‘In Moonlight’ and setting a poem by Byron’s friend and contemporary Shelley. Finally, all the themes come together in a thrilling apotheosis, in turn looking to the conclusion of the symphony that Elgar was to have completed during his time ‘in the south’.

Richard Strauss 1864–1949

Four Last Songs Diana Damrau soprano 1 Frühling [Spring] 2 September 3 Beim Schlafengehen [Going to Sleep] 4 Im Abendrot [At Sunset]

The song texts are overleaf. On 22 May 1950, six months after Richard Strauss’s death, London witnessed the premiere of his four last orchestral songs. Having lived for over 80 years and witnessed the horrors of both world wars, Strauss had been in a particularly pensive mood when he decided to set the 19th-century poet Joseph von Eichendorff’s ‘Im Abendrot’ on 6 May 1948. Soon after completing that song, Strauss turned to the poetry of a contemporary literary figure, Hermann Hesse. The composer had been given a copy of Hesse’s verse by an admirer in Switzerland in early 1948 and decided to set three of his texts to music: ‘Frühling’, which Strauss composed on 18 July; ‘Beim Schlafengehen’, set on 4 August; and ‘September’, completed on 20 September, just as summer was shuddering to a close. The poetry is undoubtedly magnificent, though Strauss may well have chosen Hesse’s verses for other, extrapoetic reasons. The writer, who married a Jew in 1931, had been an outspoken critic of the Nazis, calling Hitler’s regime a ‘reign of totally mindless brutes’. Consequently, Hesse helped many of his fellow writers escape Germany, including Bertolt Brecht and Thomas Mann. Like Strauss in his 1944–45 orchestral work Metamorphosen, Hesse was utterly dismayed at the destruction of his country’s culture. In turn, by choosing

Hesse’s words, Strauss may have been indicating that his controversial acquiescence during the early years of the Nazi regime, when he was president of the Reich Chamber of Music, had now rightly turned to contrition. Regardless of the context, these four not-quite-last songs – ‘Malven’, for the Austrian soprano Maria Jeritza, was written in November 1948 – impart an innately personal story. That was made even clearer when they were published and performed in the now established order. The unpredictable breezes of ‘Frühling’ open out into a ravishing summer, though, as Shakespeare once wrote, ‘summer’s lease hath all too short a date’, and soon comes the decline of ‘September’, with its raindrops and tumbling leaves. Like Mahler’s Das Lied von der Erde, these observations of the yearly cycle of nature likewise reflect the passage of a human life and the song closes with an aching solo on the horn (Strauss’s father’s instrument). It is a violin that then weaves its way through ‘Beim Schlafengehen’, where the threat of death vanishes and, ‘like a weary child’, the lover finds rest, prefigured in a rhapsodic interlude that is taken up by the soprano. Continued overleaf London Philharmonic Orchestra | 9

Programme notes and song texts

After the heart-stirring kinesis of these first three songs, ‘Im Abendrot’ communicates a sense of endless time and space, more in the mode of Wagner’s Parsifal than the midnight ruminations of the Marschallin in Strauss’s own Der Rosenkavalier, as we might have previously imagined. Before the song finally comes to a close, Strauss returns to the motifs (and programme) of his 1899 tone-poem Tod und Verklärung. Accompanied by welcoming birdsong, the soul ‘leaves the body in order to find gloriously achieved in everlasting space those things which could not be fulfilled here below’.

Frühling

Spring

In dämmrigen Grüften träumte ich lang Von deinen Bäumen und Blauen Lüften Von deinem Duft und Vogelgesang. Nun liegst du erschlossen in Gleiss und Zier Von Licht übergossen wie ein Wunder vor mir. Du kennst mich wieder, du lockst mich zart; Es zittert durch all meine Glieder deine selige Gegenwart.

In halflight I waited, dreamed all too long of trees in blossom, those flowing breezes, that fragrant blue and thrushes’ song. Now streaming and glowing from sky to field With light overflowing, all these charms are revealed. Light gilds the river, light floods the plain; Spring calls me: and through me there quivers life’s own loveliness returned.

Hermann Hesse

September

Der Garten trauert, Kühl sinkt in die Blumen der Regen.

These mournful flowers, rain-drenched in the coolness are bending, While summer cowers, mute as he waits for his ending. Gravely each golden leaf falls from the tallest acacia tree; Summer marvels and smiles to see his own garden grow faint with grief. Lingering still, near the roses long he stays, longs for repose; Languid, slow to the last, his weary eyelids close.

Der Sommer schauert, still seinem Ende entgegen. Golden tropft Blatt um Blatt nieder vom hohen Akazienbaum. Sommer lächelt erstaunt und matt in den sterbenden Gartentraum. Lange noch bei den Rosen bleibt er stehen, sehnt sich nach Ruh. Langsam tut er die müdgewordnen Augen zu. Hermann Hesse

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Beim Schlafengehen

Going to Sleep

Nun der Tag mich müd’ gemacht, Soll mein sehnliches Verlangen Freundlich die gestirnte Nacht Wie ein müdes Kind empfangen.

Now the day has wearied me, All my gain and all my longing Like a weary child’s shall be Night, whose many stars are thronging.

Hände lasst von allem Tun, Stirn vergiss du alles Denken, Alle meine Sinne nun Wollen sich in Schlummer senken.

Hands, now leave your work alone; Brow, forget your idle thinking; All my thoughts, their labour done, Softly into sleep are sinking.

Und die Seele unbewacht Will in freien Flügen schweben, Um im Zauberkreis der Nacht Tief und tausendfach zu leben.

High the soul will rise in flight, Freely gliding, softly swaying, In the magic realms of night, Deeper laws of life obeying.

Hermann Hesse

Im Abendrot

At Sunset

Wir sind durch Not und Freude gegangen Hand in Hand; Vom Wandern ruhen wir nun überm stillen Land. Rings sich die Täler neigen, es dunkelt schon die Luft.

Here both in need and gladness we wandered hand in hand; Now let us pause at last above the silent land. Dusk comes the vales exploring, the darkling air grows still. Alone two sky-larks soaring in song their dreams fulfil.

Zwei Lerchen nur noch steigen nach träumend in den Duft. Tritt her und lass sie schwirren, bald ist es Schlafenzeit. Dass wir uns nicht verirren in dieser Einsamkeit. O weiter, stiller Friede! So tief im Abendrot Wie sind wir wandermüde – ist dies etwa der Tod?

Draw close and leave them singing, soon will be time to sleep. How lost our way’s beginning! This solitude, how deep. O rest so long desired! We sense the night’s soft breath. Now we are tired, how tired – can this perhaps be death?

English translations © Michael Hamburger

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

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Programme notes continued

Johannes Brahms 1833–97

Begun in 1862 and completed in 1876, the year of its premiere, Brahms’s First Symphony had demanded great resolve from its creator. Hewn from the same C minor granite from which Beethoven had carved his Fifth Symphony, Brahms’s first foray into the genre was similarly hailed as a masterpiece. Acknowledging the past, its music also looked firmly into the future, with a final, noble theme breathing both confidence and humility. What had taken Brahms 14 years to achieve was then accomplished for the second time in just a single summer, in Pörtschach, on the northern shore of the Wörthersee. Surrounded by the light, air and space of the Carinthian countryside, Brahms breathed a much more pastoral mood into his Second Symphony. How different, then, from what Eduard Hanslick had described as the ‘titanic force’ and ‘Faustian struggle’ of the First. While the key of C minor in that earlier work did indeed suggest a heroic battle, Brahms’s choice of D major for his Second Symphony intimated something more celebratory. It was the key of Bach’s music for the great feasts of the Christian year, as well as Mozart’s The Marriage of Figaro and his festive ‘Prague’ Symphony. Brahms’s Second, however, begins in more muted terms, with the horns and then the first violins, whose quaver theme slowly but surely spreads its happiness throughout the orchestra. And yet there are numerous incongruities here, including unbalanced phrases and a persistent feeling of two against three. As the movement unfolds, these disturbances increase, with marcato trumpet fanfares and strident dissonances from the trombones during the development. The recapitulation, on the other hand, returns to the pastoral feel of the opening, though tensions endure.

Symphony No. 2 in D major, Op. 73 1 2 3 4

Allegro non troppo Adagio non troppo Allegretto grazioso, quasi andantino Allegro con spirito

The Adagio also reveals uncertainties, particularly during the extended and harmonically doubtful introduction to the principal melody in B major. When that theme arrives, its limping upbeats and syncopations perplex more than they soothe. And some of the fire from the first movement continues here too, stoked by the rumble of the timpani and a sudden lurch to the tonic minor. All in all, this is a disrupted song, which never quite reaches the climax for which it, and we, pine. The second half of the Symphony is much lighter in mood, though it too has a propensity to brood. First comes a Ländler-like Allegretto, led by the woodwind and marked ‘grazioso’, as with the Adagio’s second subject. Despite the ostensible security of this tripletime theme, it has a tendency to wander away from its G major roots, including to the tonic minor and then to E flat major. More settled is the Presto section that follows, with a real lightness of touch, before it takes on a more heroic air. Finally, as we reach the last movement, the tensions evident in the opening Allegro and Adagio appear to have vanished entirely. After a hushed introduction, recalling the first steps of this symphonic journey, Brahms launches into one of his happiest sonata forms. Here, the trumpeting glory of Bach and Mozart’s D major creations comes to the fore, now in decidedly Romantic garb. The second subject is calmer, more collected in its joy, but while there are diversions into further conflicted areas – not least during the development section – these only serve to underline the mounting feelings of delight, which become wonderfully unbridled in the Symphony’s final bars. Programme notes © Gavin Plumley

12 | London Philharmonic Orchestra

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. Elgar: In the South (Alassio) London Philharmonic Orchestra| Sir Adrian Boult (Warner) or London Philharmonic Orchestra | Vernon Handley (Eminence) R Strauss: Four Last Songs Lucia Popp | London Philharmonic Orchestra Klaus Tennstedt (Warner) or Jessye Norman | Gewandhausorchester Leipzig Kurt Masur (Philips) Brahms: Symphony No. 2 Vladimir Jurowski | London Philharmonic Orchestra (LPO Label LPO-0043, see right)

Brahms’s Symphony No. 2 on the LPO Label Brahms Symphonies Nos. 1 & 2 Vladimir Jurowski conductor London Philharmonic Orchestra LPO-0043 | £10.99

‘Beautifully well played ... Superbly conceived as a whole, emotionally coherent and compelling. The ending is roof-raising, and I’m glad that they left the applause in … I felt like joining in.’ BBC Radio 3’s ‘Building a Library’ recommendation for Brahms’s Symphony No. 2, June 2013

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

New CD release on the LPO Label Kurt Masur conducts Shostakovich’s Symphony No. 7 (‘Leningrad’) Shostakovich Symphony No. 7 (‘Leningrad’) Kurt Masur conductor London Philharmonic Orchestra LPO-0103 | £9.99 Recorded live at Southbank Centre’s Royal Festival Hall, London, on 13 December 2003.

‘Masur and his outstanding players received rapturous applause from a packed RFH ... We are fortunate indeed that this concert was recorded.’ Musicweb International, December 2003

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

London Philharmonic Orchestra | 13

be m ov e d Next concerts at Southbank Centre’s Royal Festival Hall

saturday 17 march 2018 7.30pm

wednesday 21 march 2018 7.30pm

saturday 24 march 2018 7.30pm

Tchaikovsky (arr. Stravinsky) Sleeping Beauty (excerpts) Tchaikovsky Piano Concerto No. 1 Stravinsky The Fairy’s Kiss

Stravinsky Apollon musagète Weber Konzertstück for piano and orchestra Stravinsky Capriccio for piano and orchestra Schubert Symphony No. 3

Stravinsky Symphony of Psalms Stravinsky Violin Concerto Stravinsky Credo Stravinsky Ave Maria Stravinsky Pater Noster Bernstein Chichester Psalms

Vladimir Jurowski conductor Daniil Trifonov piano

Andrés Orozco-Estrada conductor Peter Donohoe piano

Andrés Orozco-Estrada conductor Patricia Kopatchinskaja violin London Philharmonic Choir

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

14 | London Philharmonic Orchestra

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

GeT

closer

2018/19 concerT season

aT souThbank cenTre’s royal FesTival hall

on sale now hiGhliGhTs include chanGinG Faces: sTravinsky’s Journey we continue our yearlong series, delving into the composer’s works from the 1940s onwards.

opera in concerT wagner’s Die Walküre and stravinsky’s The Rake’s Progress under vladimir Jurowski, and puccini’s first opera, Le Villi.

isle oF noises Throughout 2019 this year-long festival celebrates the music of britain, from purcell, through elgar, bax and walton, to the present day.

beeThoven piano concerTos The flamboyant young spanish pianist Javier perianes joins us for two evenings to perform beethoven’s complete piano concertos.

book now aT lpo.orG.uk or call 020 7840 4242 season discounTs oF up To 30% available

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

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 The Tsukanov Family Principal Associates An anonymous donor The Candide Trust In memory of Miss Ann Marguerite Collins 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 Hsiu Ling Lu 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 Eric Tomsett 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

18 | London Philharmonic Orchestra

Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home 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 Mr Christopher Stewart 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 Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Mr John D Barnard 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 (China/Hong Kong) Hsiu Ling Lu (China/Shanghai) 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/ Shenzhen) 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 Bonhams 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 Sir William Boreman’s Foundation 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 Lawson Trust 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