London Philharmonic Orchestra 4 Dec 2016 Eastbourne concert programme by London Philharmonic Orchestra

MUSIC IS OUR WORLD. WE WANT TO SHARE ITS ASTONISHING POWER AND WONDER WITH YOU in eastbourne. Concert programme Eastbourne Congress Theatre & Devonshire Park Theatre lpo.org.uk

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

Eastbourne Congress Theatre Sunday 4 December 2016 | 3.00pm

Weber Overture, Der Freischütz (10’) Mozart Clarinet Concerto in A major, K622 (28’) Interval (20’) Beethoven Symphony No. 5 in C minor, Op. 67 (35’)

Michael Seal conductor Raphaël Sévère clarinet

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

Contents 2 Welcome Orchestra news 3 On stage today 4 About the Orchestra 5 New on the LPO Label: Beethoven 6 Michael Seal 7 Raphaël Sévère 8 Programme notes 11 Symphony No. 5 on the LPO Label LPO Eastbourne Appeal 12 Next LPO concerts 13 CD Subscription packages 14 Supporters 16 LPO administration

Welcome

Orchestra news

Welcome to the Congress Theatre, Eastbourne

Glyndebourne 2017

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

The 2017 Glyndebourne Festival Opera season opens on 20 May and runs until 27 August. During the summer the London Philharmonic Orchestra will perform Verdi’s La traviata conducted by Richard Farnes and Andrés Orozco-Estrada; the world premiere performances of Brett Dean’s Hamlet conducted by Vladimir Jurowski; Strauss’s Ariadne auf Naxos under Cornelius Meister; and Donizetti’s Don Pasquale under Giacomo Sagripanti. Booking opens on Sunday 5 March 2017: call the Glyndebourne Box Office on 01273 815000 or visit glyndebourne.com New on the LPO Label: Masur conducts Beethoven Symphonies Recently released on the LPO Label is a disc of Beethoven’s Symphonies Nos. 1 & 4, conducted by Kurt Masur live in concert at Southbank Centre’s Royal Festival Hall in November 2004. Masur was Principal Conductor of the London Philharmonic Orchestra from 2000–07 and conducted more than 150 performances in London and internationally during his tenure. He sadly passed away in December last year, but this pair of recordings pays tribute to his musical legacy. Priced at £9.99, the disc is 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. See page 5 for more details. Ravi Shankar’s Sukanya: May 2017 In May 2017 the Orchestra will take part in the first performances of an opera by Indian music legend Ravi Shankar. Shankar was composing his pioneering opera Sukanya at the time of his death in 2012, and it explores the common ground between the music, dance and theatrical traditions of India and the West. The four performances will take place at Leicester’s Curve (world premiere, 12 May), The Lowry, Salford (14 May), Symphony Hall Birmingham (15 May) and London’s Southbank Centre (19 May). lpo.org.uk/sukanya Sukanya is a co-production between The Royal Opera, the London Philharmonic Orchestra and Curve, Leicester. The 19 May performance is a co-production between The Royal Opera, the London Philharmonic Orchestra and Curve, Leicester in association with Southbank Centre. With generous philanthropic support from Arts Council England and the Bagri Foundation.

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On stage today

First Violins Liana Gourdjia Guest Leader Katalin Varnagy Chair supported by Sonja Drexler

Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Tina Gruenberg Non Peters Amelia Conway-Jones Galina Tanney Alice Cooper Hall Jacqueline Martens Eleanor Bartlett Kate Cole Jacqueline Roche Second Violins Dania Alzapiedi Guest Principal Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Marie-Anne Mairesse Sioni Williams Harry Kerr Alison Strange Elizabeth Baldey John Dickinson

Violas Gregory Aronovich Principal Emmanuella Reiter Stanislav Popov Sarah Malcolm Martin Fenn Martin Wray Cristina Gestido Charles Cross Cellos Francis Bucknall Principal David Lale Santiago Carvalho† Chair co-supported by Molly & David Borthwick

Sibylle Hentschel Iain Ward Jonathan Kitchen Double Basses Sebastian Pennar Principal George Peniston Lowri Morgan Charlotte Kerbegian

Horns Mark Vines Principal Adam Howcroft Jonathan Quaintrell-Evans Gareth Mollison

Flutes Harry Winstanley Guest Principal Hannah Grayson Piccolo Katherine Bicknell

Trumpets Paul Beniston* Principal Anne McAneney*

Oboes Tristan Cox Guest Principal Rachel Harwood-White

Chair supported by Geoff & Meg Mann

Trombones Mark Templeton* Principal

Clarinets Thomas Watmough Principal Paul Richards

Chair supported by William & Alex de Winton

David Whitehouse

Bassoons Jonathan Davies Principal Laura Vincent Contrabassoon Simon Estell* Principal

Bass Trombone Lyndon Meredith Principal Timpani Simon Carrington* Principal * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco 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: The Candide Trust • Andrew Davenport • Drs Oliver & Asha Foster • Friends of the Orchestra • Dr Barry Grimaldi • Simon Robey • Victoria Robey OBE • Bianca & Stuart Roden • Eric Tomsett • Laurence Watt • Neil Westreich

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

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

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2016 the LPO joined many of the UK’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400

4 | London Philharmonic Orchestra

years since his death. In 2017 we will collaborate with Southbank Centre on Belief and Beyond Belief: a year-long multi-artform festival. Other 2016/17 season highlights include the return of Osmo Vänskä to conduct the Sibelius symphonies alongside major British concertos by Britten, Elgar, Walton and Vaughan Williams; Jurowski’s continuation of his Mahler and Brucker symphony cycles; landmark contemporary works by Steve Reich, Philip Glass, John Adams and Gavin Bryars; and premieres of new works by Aaron Jay Kernis and the Orchestra’s Composer in Residence Magnus Lindberg. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: last season included visits to Mexico,

Spain, Germany, the Canary Islands and Russia; and tours in 2016/17 include New York, Germany, Austria, Hungary, Spain, France, Belgium, The Netherlands and Switzerland. The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download: recent additions include a disc of Stravinsky works with Vladimir Jurowski, Act 1 of Wagner’s Die Walküre with Klaus Tennstedt, and Beethoven’s Symphonies Nos. 1 and 4 with Kurt Masur (see right). In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

Latest release on the LPO Label

BEETHOVEN Symphony No. 1 in C major Symphony No. 4 in B flat major Kurt Masur conductor London Philharmonic Orchestra

£9.99 | LPO-0093 Recorded live on 24 & 27 November 2004

‘... The musicians of the LPO responded with litheness, a real sense of rediscovering the all-toofamiliar, and nigh-on impeccable playing.’ The Daily Telegraph, November 2004

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

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

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Michael Seal conductor

Michael Seal is a man who seems to feel every moment of every movement but still finds time to jokingly goad his players, followed by reassuring smiles, to get exactly what he wants.

Jonathan Glen, birminghamreview.net

Michael Seal holds the position of Associate Conductor of the City of Birmingham Symphony Orchestra, a unique appointment that recognises his work as Assistant Conductor and the special relationship he has built with the Orchestra.

Michael has a special bond with the CBSO Youth Orchestra, conducting it on numerous occasions, and being involved with it since its foundation. He is also Artistic Advisor and Conductor for the CBSOYO Academy, a chamber orchestra formed in 2007.

His in-depth knowledge of orchestras from an insider’s position (he was a violinist with the CBSO for several years) gives him a unique perspective, and he quickly builds rapport and trust with the orchestras with whom he works. His energy and enthusiasm are infectious and he has built a reputation for outstanding results, delivered with great charm and often on a typically British tight rehearsal schedule.

Michael’s love of opera has led to critically acclaimed performances of Puccini’s Il trittico at the Birmingham Conservatoire. He has also assisted both Sakari Oramo and Andris Nelsons in opera performances of Peter Grimes, Carmen, Der Rosenkavalier, Lohengrin, Tristan und Isolde and The Flying Dutchman.

Michael made his debut with the London Philharmonic Orchestra in October 2012, here at the Congress Theatre. He has worked with many of the UK’s other finest orchestras, frequently being invited as guest conductor with the BBC Symphony, BBC Philharmonic, Royal Philharmonic, Royal Liverpool Philharmonic and Ulster orchestras, as well as the BBC Concert Orchestra, BBC National Orchestra of Wales, BBC Scottish Symphony Orchestra and Bournemouth Symphony Orchestra. Internationally, he has conducted the Frankfurt Radio Symphony Orchestra, KBS Symphony Orchestra, Norwegian Radio Orchestra, Odense Symphony Orchestra, Joensuu City Orchestra, Orquesta Académica del Instituto Superior de Arte del Teatro Colon, Orquesta Filarmónica de Buenos Aires and both RTÉ Concert and National Symphony orchestras.

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2016/17 engagements include several appearances with the CBSO, plus return visits to the BBC Philharmonic, Royal Liverpool Philharmonic and Bournemouth Symphony orchestras, and the Orquesta Académica del Instituto Superior de Arte del Teatro Colon. As well as today’s concert, Michael also conducted a London Philharmonic Orchestra BrightSparks schools’ concert at Royal Festival Hall last month.

michaelseal.com facebook.com/conductorseal twitter.com/batonflipper youtube.com/user/batonflipper

Raphaël Sévère clarinet

Sévère possesses a lovely tone that is remarkably even throughout the clarinet’s range, and a superb legato. He shapes a phrase lovingly and has impeccable intonation.

Fanfare Magazine

Winner of the Tokyo Competition at the age of 12 and nominated for Best New Instrumentalist of the Year at the Victoires de la Musique awards aged 15, in November 2013 French clarinettist Raphaël Sévère took part in the prestigious Young Concert Artists International Auditions in New York, where he received First Prize, as well as eight other special prizes.

a ‘ffff’ rating, the highest award from Télérama magazine. His next recording will feature Weber’s Clarinet Concerto No. 1, recorded live with the Deutsches Sinfonie-Orchester at the Berlin Philharmonie. Raphaël Sévère plays a clarinet by Henri Selmer Paris.

Today’s concert marks Raphaël’s debut with the London Philharmonic Orchestra. This season also sees debuts with the Deutsches Sinfonie-Orchester Berlin at the Philharmonie with Weber’s Clarinet Concerto No. 1; the Orchestre National du Capitole de Toulouse with Mozart’s Clarinet Concerto; the Orchestra of St. Luke’s at New York’s Alice Tully Hall; and a tour performing Weber’s Clarinet Concerto No. 2 with the Orchestre National de Lille, with whom he also performed the Adagio from Mozart’s Clarinet Concerto at the 2015 Victoires de la Musique awards, broadcast live on French television. Recent and forthcoming recital appearances include the Théâtre des Champs-Élysées, Auditorium du Louvre and Salle Gaveau in Paris; the Grand Théâtre de Provence; the Fondazione La Società dei Concerti in Milan; Washington’s Kennedy Center; New York’s Merkin Concert Hall; the KKL Luzern; and festivals including Rheingau, Mecklenburg-Vorpommern, Le French May (Hong Kong), Festival de Radio France et Montpellier and Folles Journées in Nantes. Raphaël’s recent Brahms recording on the Mirare label, with pianist Adam Laloum and cellist Victor JulienLaferrière, received the Diapason d’Or in 2015 and

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Programme notes

Speedread When Mozart died in 1791, shortly after completing his ravishing Clarinet Concerto, he left behind an extraordinary legacy. Unsurprisingly, Weber and Beethoven, the two other composers featured in tonight’s programme, wanted to follow in his footsteps. The latter came to Vienna with the express intention, according to his friend Count von Waldstein, to ‘receive Mozart’s spirit from Haydn’s hands’. And when Weber was a young musician, living in Munich, his ambitious father hoped he would become the second Mozart (who had incidentally been married to Weber’s cousin Constanze). In many ways, both Weber and Beethoven succeeded. Having

Carl Maria von Weber

arrived in Vienna in 1792, where he studied with Haydn, Beethoven began to conquer musical Vienna with his piano playing and, subsequently, with his audacious keyboard, chamber and symphonic works. Weber too wrote commanding instrumental pieces, though it was by following Mozart’s theatrical lead, revealing his operatic masterpiece Der Freischütz to the world in 1821, that Weber secured lasting fame. The stirring Overture to that great Romantic drama opens tonight’s programme. Just as with Beethoven’s paradigmatic Fifth Symphony, with which the concert closes, Weber’s opera was to provide a formidable model for the next generation of composers.

Overture, Der Freischütz (1821)

1786–1826

Johann August Apel and Friedrich Laun’s story Der Freischütz, first published in 1811, was already immensely popular when Weber began work on his operatic adaptation in 1817. Its tale of Max, a wellmeaning forester who acquires magic bullets in order to win a shooting contest and the hand of his beloved Agathe, offered significant dramatic opportunities, not least the various ghostlike manifestations of its ‘Wolf’s Glen’ scene. Work on Der Freischütz proved somewhat arduous, but when a first production was secured in 1819, Weber composed feverishly. At its premiere at the Schauspielhaus (now the Konzerthaus) in Berlin on 18 June 1821, the opera was a resolute triumph.

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Weber’s Overture opens with a tense unison theme, followed by a pastoral C major melody, complete with ‘hunting’ horns. The Molto vivace section that then ensues, firmly rooted in C minor, looks ahead to the forces of evil in the drama. Particularly characteristic are the diminished chords that are later associated with the villainous Samiel, though the music of both Max and Agathe is also represented in this stirring curtain-raiser, including the latter’s ‘Leise, leise’, in which she makes her feelings clear to Max. As in the opera’s final scene, when Max is pardoned for his misdemeanours and is able to marry Agathe, the Overture closes in a giddy C major.

Wolfgang Amadeus Mozart 1756–91

Shortly after the world premiere of Idomeneo in Munich in January 1781, Mozart was summoned to Vienna by his boss, the Prince Archbishop of Salzburg. Employer and employee had always suffered a rather fractious relationship and it was not long before the association broke down entirely, with Mozart leaving the Archbishop’s court to remain in Vienna. Aged 25, he was a true freelancer for the first time, living in one of the most exciting musical centres in the world. There, he was free to form friendships with talented local musicians, including the Stadler brothers, two clarinettists who played in the court orchestra. Mozart had a particularly close association with Anton Stadler. They were both masons and Stadler played the basset-horn in a number of Mozart’s works for the Lodge. He also performed in the premiere of the ‘Kegelstatt’ Trio in 1786, but Stadler is most famed for his association with Mozart’s Clarinet Quintet and the Concerto in A major, written and first performed shortly before the composer’s death in 1791. Both works were clearly conceived with Stadler in mind, not least his invention of the basset clarinet, an instrument with a slightly extended lower range, which is duly flaunted in the leaps in the solo part of Mozart’s Concerto. The work opens with a jaunty ritornello, which returns time and again in the initial Allegro. This happy music

Clarinet Concerto in A major, K622 (1791) Raphaël Sévère clarinet 1 Allegro 2 Adagio 3 Rondo: Allegro

gives rise to streams of semiquavers, before more contrapuntal music takes over and is taken up by the soloist. Although these polyphonic textures and a notable excursion into the minor key cast a more serious light over the movement, the prevailing mood is blithe and bonny, as evinced by its recapitulation, in which soloist and orchestra are joyfully united. The Adagio, in D major, is one of Mozart’s most ravishing instrumental arias. Its guileless melody is passed freely between soloist and orchestra, the latter intensifying the clarinet’s descending melodic gestures with rich suspensions. A more lively middle section exploits the full range of Stadler’s instrument once more, with distinguishing leaps and virtuoso runs, but it is to the heartfelt D major song that the Adagio eventually returns. Finally, a dancing Rondo caps off this spirited work, in a form that echoes the ritornello-like form of the first movement. The Rondo’s carefree dance recalls the music of Papageno in The Magic Flute, which had its premiere in Vienna two days after Mozart began work on this Concerto. He completed the piece on 7 October, with Stadler giving the premiere in Prague nine days later. The work’s ebullient energy tells us that Mozart was far from done with life, though fate soon intervened and he was dead within seven weeks.

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

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Programme notes continued

Ludwig van Beethoven 1770–1827

Beethoven had been planning a symphony in C minor since the completion of his ‘Eroica’ in 1803; he eventually got to the project four years later. The Symphony had its premiere in Vienna at the end of 1808 in a concert that also included the first performances of the Sixth Symphony, the Fourth Piano Concerto (with Beethoven at the keyboard) and the Choral Fantasie, as well as several shorter excerpts and smaller works. This highly ambitious programme proved taxing even for the energetic Beethoven. Planned as a fillip to his precarious finances, the concert, which was staged on a bitterly cold day and woefully lacking in rehearsal, failed to reap those rewards. But despite its far-from-perfect launch, Beethoven’s C minor Symphony defiantly changed the face of music. Its opening Allegro begins with a decisive four-note gesture. The 35-minute narrative that follows derives its entire motivic and harmonic power from this distinctive cell. At first, it generates an exchange between the various sections of the orchestra, rising to bold attacks. The second subject is contrastingly lyrical, in the relative major, but that initial, four-note gesture is tenacious. It continues to make its presence felt, first in a horn-call – of which the second subject is a variant – and in subsequent rhythmic manifestations. Beethoven hints at later glories in the climactic passages of the second subject, but they are impeded by the return of the primary cell. The development section brooks no interference and, although briefly lagging in energy, the Symphony’s initial motif drives on through to the recapitulation. An oboe sounds a lone appeal in the midst of this fracas, but even more audacious rounds of the central idea erase its plangent call. When the second subject returns, it is cast in C major. That is the Symphony’s ultimate goal, of course, but the principles of sonata form dictate that 10 | London Philharmonic Orchestra

Symphony No. 5 in C minor, Op. 67 (1804–08) 1 Allegro con brio 2 Andante con moto 3 Scherzo: Allegro – 4 Allegro

glory must be denied, at least for now, and the home key of C minor returns, underpinned by ferocious timpani. The Andante seems to move away from the battleground of the first movement. A polite dialogue, with dotted rhythms in the strings and more nostalgic woodwind, tees up a chain of cadences. But, as in the first movement, these patterns are underlined by the Symphony’s motivic kernel. Its four-note tap will not be silenced, trumping the newly established tonic of A flat major with a burst of C major. Although the opening legato phrases recur, they cannot placate underlying tensions, which bubble to the surface in the following Allegro. Here, back in C minor, the four-note motif pushes through various textures with fierce intent. Ranging over a diverse tonal landscape – including B flat minor and brief but energetic passages in the dominant and subdominant – the music pines for resolution. Throwing us off the scent, bassoons, oboes and pizzicato strings deliver the principal motif in comically eerie tones. But this is a bluff, merely a trembling preparation for the final ascent. Shifting to a dominant pedal, Beethoven then leaps into the finale. The triumph of C major over C minor is stated outright in this last brave Allegro. The entire orchestra joins in with the theme, turning the central motif’s descending gesture on its head. Everything overcomes that initial darkness, in a gesture described by E.T.A. Hoffmann as the ‘radiant beams [that] shoot through this region’s deep night’. A century later, in his novel Howards End, E.M. Forster told of ‘the gusts of splendour, the heroism, the youth, the magnificence of life and of death’, and how, ‘amid vast roarings of superhuman joy’, Beethoven ‘led his Fifth Symphony to its conclusion’.

Such a message of ecstatic, defiant triumph provided the benchmark for subsequent generations of symphonists. Brahms, Tchaikovsky, Sibelius, Mahler and Shostakovich, to name but a handful, all wrote works that tried to harness Beethoven’s idealism to their own means and ends. Through his Fifth Symphony’s abstract triumph of major over minor, Beethoven communicated a resolute commitment to life with which people, regardless of race, colour or creed, could not fail to identify. Programme notes © Gavin Plumley

Beethoven: Symphony No. 5 on the LPO Label Coriolan Overture Symphony No. 5 Klaus Tennstedt conductor London Philharmonic Orchestra

£9.99 | LPO-0087

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

London Philharmonic Orchestra 2016/17 Eastbourne Appeal The London Philharmonic Orchestra is extremely proud of its longstanding relationship with our audiences and we hope that you have enjoyed this season’s concerts so far. This year's Eastbourne Appeal aims to secure support towards talent in the Orchestra, ensuring that we are able to continue presenting the very best players on the Eastbourne stage. About 55% of the LPO’s total outlay goes towards paying the musicians and artists with whom we work, and finding the funding for this poses a constant challenge. We invite you to support talent in the London Philharmonic Orchestra by donating. This year Andrew Storey, Principal Second Violin, is our Eastbourne Appeal Donors Supported Musician. Having joined the Orchestra last year, Andrew thoroughly enjoyed being in Eastbourne during his first season and is looking forward to performing later this season in a chamber capacity. It is thanks to your support, both as audience members and through your generous donations, that we are able to continue presenting the very best talents on the Eastbourne stage; with your help we can continue to bring exceptional musicians such as Andrew to Eastbourne. To donate, please visit lpo.org.uk/eastbourneappeal or contact Helen Yang on 020 7840 4225 or helen.yang@lpo.org.uk

London Philharmonic Orchestra | 11

asYESTERDA

Still to come this season at Eastbourne's Devonshire Park Theatre

THE FOUR SEASONS Sunday 5 FEBRUARY 2017 3.00pm

TRAGEDY TO JOY Sunday 23 APRIL 2017 3.00pm

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

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

Pieter Schoeman violin Andrew Storey violin

Soloists of the London Philharmonic Orchestra

DEVONSHIRE PARK THEATRE

ENCHANTMENT AND ROMANCE Sunday 12 MARCH 2017 3.00pm DEVONSHIRE PARK THEATRE

R Strauss Sextet from Capriccio Mozart Clarinet Quintet Mendelssohn Octet Soloists of the London Philharmonic Orchestra

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DEVONSHIRE PARK THEATRE

@LPOrchestra IT WAS TOTALLY ELECTRIC TONIGHT. I REALLY THOUGHT MY HEART MIGHT BEAT OUT OF MY CHEST. Audience member

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Eastbourne Symphony Orchestra

th season

2017

Birley Centre BN21 4EF

St Saviour’s Church BN21 4UT

30th Young Soloist Competition

Brahms’ Requiem

First round 7 and 8 January afternoon (times tbc) (15-minute performance of a contrasting programme)

Final round 29 January 2–6pm (20-minute performance of two contrasting concerto movements)

7.30pm Sunday 19 March Eastbourne Symphony Orchestra and Chorus, Eastbournian Society Chorus

No advanced booking; £4 donation Come and go between competitors

Five finalists £8 entry on the door

Máire Flavin soprano Matthew Sprange bass

London Philharmonic Orchestra | 13

Thank you

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

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

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

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

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

Mr James A Reece Mr Olivier Rosenfeld Mr Kenneth Shaw Mr Barry Smith Ms Natalie Spraggon James & Virginia Turnball Michael & Katie Urmston Timothy Walker AM Mr Berent Wallendahl Edward & Catherine Williams Mr C D Yates Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna Natalie Pray Robert Watson Antonia Romeo Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

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

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

Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

London Philharmonic Orchestra | 15

Administration

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

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager