London Philharmonic Orchestra 4 Nov 2017 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 4 November 2017 | 7.30pm

Bruckner Symphony No. 8 in C minor (1890 version; Haas edition) (83’) There will be no interval in this evening’s concert.

Lawrence Renes conductor Please note a change to the conductor from previously advertised.

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

Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Lawrence Renes 7 Programme notes 9 Bruckner on the LPO Label 10 Next concerts 11 Das Rheingold: A Golden Gala Evening 12 LPO at Wigmore Hall 13 Sound Futures donors 14 Supporters 16 LPO administration

Welcome

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, Feng Sushi 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. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss 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.

warm welcome to Southbank Centre’s Royal Festival Hall for this evening’s performance by the London Philharmonic Orchestra of Bruckner’s magnificent Eighth Symphony.

The London Philharmonic Orchestra is very grateful to Lawrence Renes for stepping in to conduct this concert in place of the originally scheduled conductor, Stanisław Skrowaczewski, who sadly passed away in February aged 93. Skrowaczewski was revered in particular for his interpretations of his beloved Bruckner and we had the privilege of sharing some extraordinary performances with him at Royal Festival Hall over the last few years, and releasing on our own label live concert recordings of Bruckner’s Symphonies Nos. 3, 5 and 7. We hope you enoy this evening’s concert and that it is a fitting tribute to his memory.

Skrowaczewski conducts Bruckner on the LPO Label Bruckner Symphony No. 3 in D minor Stanisław Skrowaczewski conductor London Philharmonic Orchestra LPO-0084 | £9.99 Bruckner Symphony No. 5 in B flat major Stanisław Skrowaczewski conductor London Philharmonic Orchestra LPO-0090 | £9.99 Bruckner Symphony No. 7 in E major Stanisław Skrowaczewski conductor London Philharmonic Orchestra LPO-0071 | £9.99 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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On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader JiJi Lee Katalin Varnagy Chair supported by Sonja Drexler

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

Violas David Quiggle Principal Robert Duncan Gregory Aronovich Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Daniel Cornford Martin Fenn Martin Wray Louise Hawker Charles Cross

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Rebecca Shorrock Non Peters Georgina Leo Rasa Zukauskaite

Cellos Pei-Jee Ng Principal Francis Bucknall Santiago Carvalho†

Second Violins Tania Mazzetti Principal Nancy Elan Fiona Higham

Sue Sutherley Helen Rathbone Sibylle Hentschel David Bucknall Philip Taylor

Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Robin Wilson Sioni Williams Harry Kerr Alison Strange John Dickinson Kalliopi Mitropoulou Jamie Hutchinson Alberto Vidal Nicole Stokes

Chair co-supported by Molly & David Borthwick

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

Double Basses Kevin Rundell* Principal George Peniston Damián Rubido González Charlotte Kerbegian Jakub Cywinski Jess Ryan John Holt Lachlan Radford Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

Ian Mullin

Trumpets Paul Beniston* Principal Sérgio Pacheco Guest Principal Anne McAneney*

Oboes Ian Hardwick* Principal Alice Munday Jennifer Brittlebank

Chair supported by Geoff & Meg Mann

Clarinets Nicholas Cox Guest Principal Thomas Watmough Paul Richards

Jason Lewis Trombones Mark Templeton* Principal

Bassoons Jonathan Davies Principal Gareth Newman Simon Estell*

Tuba Patrick Harrild Guest Principal

Horns David Pyatt* Principal Chair supported by Sir Simon Robey

Jonathan Quaintrell-Evans Nicholas Mooney Alex Wide Mark Vines Co-Principal Adam Howcroft Martin Hobbs Gareth Mollison Duncan Fuller Wagner Tubas Mark Vines Adam Howcroft Martin Hobbs Gareth Mollison

David Whitehouse Richard Ward Bass Trombone Lyndon Meredith Principal

Contrabassoon Simon Estell* Principal

Chair supported by Laurence Watt

Chair supported by William & Alex de Winton

Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal Chair supported by Friends of the Orchestra

Harps Rachel Masters Principal Lucy Haslar Tomos Xerri * 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 • Dr Barry Grimaldi • 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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continues to the end of 2017, exploring what it means to be human in the 21st century. Then, 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 90 releases available on CD and to download. Recent additions include Beethoven’s Symphonies Nos. 1 and 4 conducted by Kurt Masur; Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; and Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski.

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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Lawrence Renes conductor

The biggest share of praise, however, is due to conductor Lawrence Renes ... the results are overwhelming.

The Financial Times, January 2015

Having conducted many of the world’s greatest orchestras and opera companies in recent seasons, Dutch-Maltese conductor Lawrence Renes was, until recently, Music Director and Chief Conductor of the Royal Swedish Opera. During his time there, productions included the Swedish premiere of George Benjamin’s Written on Skin, as well as Madam Butterfly, Idomeneo, The Rite of Spring, Tristan und Isolde, Die Walküre, Peter Grimes, Turandot, Salome, Der Rosenkavalier and Jenůfa, among others.

Scottish symphony orchestras, the Bergen Philharmonic Orchestra and the Residentie Orkest. In the USA, Renes has performed with the Los Angeles Philharmonic at the Hollywood Bowl; the Minnesota Orchestra; and the Seattle, Houston, Detroit, Indianapolis, New Jersey and Saint Louis symphony orchestras. Further afield, he has worked with the New Zealand, Melbourne and West Australian symphony orchestras, and the Seoul Philharmonic Orchestra.

A champion of John Adams, Renes has conducted productions of Nixon in China at San Francisco Opera and Doctor Atomic at both English National Opera and De Nederlandse Opera – the DVD of the latter was named as one of the Ten Best Classical Recordings of the Year for 2008 in The New Yorker. Renes has conducted Adams’s orchestral works with the London, Oslo and Hong Kong Philharmonic orchestras, the Mahler Chamber Orchestra, the Orchestre Philharmonique de Radio France and the Royal Stockholm Philharmonic Orchestra.

On the opera stage, Renes gave the US premiere of Tan Dun’s Tea with Sante Fe Opera to great critical acclaim in 2007 and has since returned twice, for Don Giovanni and The Magic Flute. He has also conducted at La Monnaie in Brussels, the Staatsoper Hamburg, De Nederlandse Opera, the Teatro Nacional São Carlos and Den Norske Opera, in works as diverse as Elektra, The Cunning Little Vixen, Eugene Onegin, The Rake’s Progress, Carmen, and the world premiere of Nuno Côrte-Real’s Banksters.

Recent and forthcoming engagements include debuts with the Helsinki Philharmonic Orchestra and the NHK and Vancouver symphony orchestras, as well as returns to San Francisco Opera, the New Zealand Symphony Orchestra and the Mahler Chamber Orchestra. He will also appear with the Malta Philharmonic Orchestra as part of Valetta’s European Capital of Culture celebrations in January 2018. Other orchestras with whom Lawrence Renes has worked include the Sinfonieorchester des Bayerischen Rundfunks, the Staatskapelle Dresden and the NDR Radiophilharmonie Hannover, as well as Seattle Opera, the Orquestra Sinfônica do Estado de São Paulo, the Swedish Chamber Orchestra, the Milwaukee and BBC

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Having studied violin at the Sweelinck Conservatory in Amsterdam, Renes went on to study conducting at the Royal Conservatory in The Hague, subsequently taking up the position of assistant to Edo de Waart at the Netherlands Radio Philharmonic Orchestra. From 2001– 06 he held the post of Generalmusikdirektor at Bremer Theater and from 1998–2003 was Chief Conductor and Artistic Director of Het Gelders Orkest, Arnhem. The London Philharmonic Orchestra is very grateful to Lawrence Renes for stepping in to conduct this evening’s concert in place of the originally scheduled conductor, Stanisław Skrowaczewski, who sadly passed away in February 2017. @lawrenes

Programme notes

Speedread The Eighth is the grandest and most imposing of all Bruckner’s symphonies. At the same time it is a record of a profound spiritual struggle. After long years of neglect and ridicule, the tide of public opinion had begun to turn dramatically in Bruckner’s favour, but privately he remained lonely and tormented by thoughts of death, despite his intense Roman

Anton Bruckner 1824–96

Bruckner’s symphonies have been compared to ‘cathedrals in sound’, but there is far more to them than grand musical architecture. The Eighth is certainly an imposing, spacious musical structure, and like many cathedrals it can be mysterious, shadowy, with potent reminders of human mortality. But it is also a record of a profound personal struggle, as the intensely Roman Catholic composer grappled with thoughts of death, with loneliness, and a lifelong tendency towards black depression. The composing process itself was long and arduous. Bruckner began sketching the Symphony in 1884, exhilarated by the recent hugely successful premiere of the Symphony No. 7 in Leipzig. The first version of the score was finished three years later. In the manuscript, at the bottom of the final page, next to the customary record of date and place, Bruckner added the word, ‘Hallelujah!’ Full of pride, Bruckner sent the newly completed score to the conductor Hermann Levi, who had directed the Seventh Symphony’s triumphant premiere. But the new work baffled, even disturbed Levi. He poured out his

Catholic faith. The first movement is a terrifying reckoning with mortality, while the great Adagio is a marvellous, songlike outpouring of erotic longing, relieved by moments of angelic consolation. If the finale initially attempts to storm the heavens, it is meditative patience that eventually wins the day, leading finally to a blazing, ecstatic vision.

Symphony No. 8 in C minor (1890 version; Haas edition) 1 2 3 4

Allegro moderato Scherzo. Allegro Moderato – Trio. Langsam (Slow) – Scherzo da capo Adagio. Feierlich langsam; doch nicht schleppend (Slow and solemn; but not dragging) Finale. Feierlich, nicht schnell (Solemn, not fast)

feelings to one of Bruckner’s closest friends: ‘I am at my wits’ end and I must appeal to you for advice and help. To put it bluntly, I am absolutely at sea in Bruckner’s Eighth Symphony, and I haven’t the courage to put it on ... What can I do? It makes me shudder to think of the effect of such news on our friend!’ Levi was right about Bruckner’s reaction: the composer was shattered. But as so often in the past, he found the strength to pull himself back from the brink and look at the Symphony again. His next letter to Hermann Levi is astonishing in its self-abasement: ‘I really should be ashamed of myself – at least this time – about the Eighth. What an idiot! It’s already beginning to look quite different ...’ Bruckner now devoted himself to revising the Eighth Symphony. This new version, completed in 1890, is – as Bruckner told Levi – ‘quite different’ from the original. For one thing, the revised score is shorter, proportions being adjusted with the precision of a master-architect. It is also noticeable that the orchestration and harmony are richer and more refined. But the most striking difference between the two versions is that the second

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Programme notes continued

(the 1890 score) is significantly darker than the original. The central and final climaxes of the first movement take on a terrifying, black grandeur in the revision. The most radical change affects the first movement’s coda: originally it ended fff in C major; but in the revision this massive full-orchestral peroration is excised, leaving the movement to ebb away bleakly in a sombre C minor. In place of Death and Transfiguration, we now have only Death. Bruckner’s friend Friedrich Eckstein described hearing Bruckner play the revised ending of the first movement on the piano: ‘as he played me this passage ... I observed that Bruckner’s expression was changing, that the corners of his mouth were sinking and his body had begun to shudder. As he played, he bent towards me and said, almost inaudibly: “This is Death’s clock, that ticks for everyone, and never stops ticking till all is past!”’ As so often in a Bruckner Symphony, the first movement has three leading themes: the first (cellos and basses) darkly probing; the second (full strings, with the characteristic ‘Bruckner rhythm’, ONE-two, ONE-two-three), more consoling; the third (horns and unison pizzicato strings) full of foreboding. Where many Bruckner first movements move at a leisurely pace, with plenty of stops to admire the scenery, this Allegro moderato has an underlying urgency, even if the pulse is not really fast. There is a steady, inevitable movement to the final terrible vision, a shattering climax topped by trumpets sounding out the rhythm of the opening theme on one repeated note. Then comes the awestruck, hushed coda. The message seems clear: ‘Dust thou art, and unto dust shalt thou return.’ The second movement, the Scherzo, shares the key (C minor) and the tempo marking of the first movement – which only makes the contrast all the more striking. This music drives forward like an elemental engine, building to two exhilarating climaxes, with pounding timpani and chiming brass. At the centre of the movement is a gentler, more introspective Trio, in which the harps appear for the first time. Here one may sense Bruckner’s debt to Schubert, and particularly to the slow, world-weary tread of songs like Gute Nacht (‘Good night’) from the cycle Winterreise (‘Winter Journey’) – apparently this was Bruckner’s favourite song. After the Trio the Scherzo is heard once again.

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The harps return in the great Adagio. These are a very unusual colour in a Bruckner symphony. Bruckner could be quite puritanical about what was ‘allowable’ in a symphony. Friends remembering him repeatedly insisting that there was no place for the harp in a true symphony. Friedrich Eckstein visited him regularly while he was working on the Adagio, and arrived one day to find Bruckner in unusually high spirits. ‘I was scarcely in the hallway when he cried: “I’ve put harps in the Adagio! I just had to, there was no other way!”’ Eckstein then tells us how Bruckner played the Adagio to him. ‘I listened, deeply moved, to the solemn entry of the harps, and as they spread their magical sounds over the stately chorus of string voices, they seemed to lift the movement above all earthly things.’ Listening to those visionary harp passages, many have felt as Eckstein did about the transcendent nature of this music. But the Adagio is not without its intimations of ‘earthly things’. The opening theme (violins above pulsating strings) is extraordinarily romantic, full of sorrowful yearning. Here Bruckner plants two apparently conscious clues as to this music’s deeper meaning. The strings’ pulsating background figure is taken from Act II of Wagner’s Tristan und Isolde: it occurs at the moment where the lovers, united at last, sing ‘Sink down upon us, night of love’. Above this figure, Bruckner begins his long violin melody with a direct quotation from Schubert: the first phrase is taken from Schubert’s famous song of spiritual isolation, Der Wanderer (‘the Wanderer’), specifically the point at which the Wanderer tells us, ‘the sun has grown cold to me’. Another of Bruckner’s friends, Carl Hruby, remembered Bruckner playing through this movement to purge himself of memories of one particularly painful thwarted infatuation (Bruckner remained a lonely bachelor to the end of his life). It is not hard to hear this movement as a great song of unsatisfied longing – despite those harp-led moments of angelic consolation. After this the Finale resembles a colossal battleground; though despite the thrilling call to action at the beginning, most of it unfolds relatively slowly. Hearing this movement for the first time, some listeners find this start-stop – or perhaps it’s attack-pause – argument confusing, or just frustrating. But tune in to Bruckner’s way of thinking and the underlying emotional logic of this movement becomes clearer as it progresses. The answer, it seems to say, lies not in

Beethovenian heaven-storming, but in patience – in the words of the French mystic Simone Weil, ‘waiting for God’. As in the first movement, three distinct themes are presented, a development follows, then comes a recapitulation and coda; but the listener is more likely to be aware of a succession of fortissimo upheavals, alternating with long passages in which the music pauses to reflect or draw breath. Eventually, quiet drumtaps introduce the coda: a slow, awe-inspiring crescendo, dark-hued at first, but emerging finally into blazing C major. Trumpet fanfares erupt, then, finally, the themes of all four movements are fused in contrapuntal ecstasy. Transfiguration has been a long time coming, but stay with Bruckner and it is well worth the wait. Programme note © Stephen Johnson

Bruckner’s Symphony No. 8 on the LPO Label ‘Bruckner's mighty Eighth Symphony is high on adrenalin from the very first minute and remains so for the next 73. There were times during the performance when, had the laws of physics permitted it, the speakers would have glowed white.' Gramophone Choice, December 2013

Bruckner Symphony No. 8 in C minor (1890 Nowak edition) Klaus Tennstedt conductor | London Philharmonic Orchestra LPO-0032 | £9.99 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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be m ov e d Next concerts at Southbank Centre’s Royal Festival Hall

wednesday 8 november 2017 7.30pm

wednesday 22 november 2017 7.30pm

friday 24 november 2017 7.30pm

Tchaikovsky 1812 Overture Schumann Violin Concerto Beethoven Symphony No. 3 (Eroica)

Bridge Summer Prokofiev Piano Concerto No. 3 Tchaikovsky Symphony No. 1 (Winter Daydreams)

Vivaldi The Four Seasons* Kabalevsky Spring Glazunov The Seasons

Alain Altinoglu conductor Patricia Kopatchinskaja violin

Michail Jurowski conductor Beatrice Rana piano

Marius Stravinsky conductor Pieter Schoeman director/violin*† † Pieter Schoeman’s chair in the Orchestra is generously supported by Neil Westreich.

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

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Das Rheingold: A Golden Gala Evening Saturday 27 January 2018 6.00pm Royal Festival Hall

Wagner Das Rheingold Celebrate Vladimir Jurowski’s 10th year as LPO Principal Conductor by joining us for this Golden Gala Evening at Royal Festival Hall. As well as standard concert tickets, we are offering special packages including pre- and post-concert receptions and the chance to meet the musicians who will bring Wagner’s great music drama to the stage. Vladimir Jurowski conductor Sofia Fomina Woglinde Rowan Hellier Wellgunde Lucie Špičková Flosshilde Lyubov Petrova Freia Michelle DeYoung Fricka Anna Larsson Erda Allan Clayton Froh Maxim Paster Loge* Matthias Goerne Wotan Stephen Gadd Donner Matthew Rose Fasolt Brindley Sherratt Fafner Adrian Thompson Mime Robert Hayward Alberich Ted Huffman producer * Please note a change of artist from previously advertised.

Tickets £15 – £375 Book 020 7840 4242 lpo.org.uk/vj10 Series discounts not available for this performance

Rhinemaiden Package: An invitation to the Orchestra’s exclusive Beecham Bar for a pre-concert reception with fine wines, canapés, and the opportunity to meet musicians from the Orchestra. £30 per person Concert ticket not included

Siegfried Package: Premium concert seats; pre-performance Champagne reception; commemorative concert programme. £125 per person

Brünnhilde Package: As above PLUS: postperformance reception with the cast. £210 per person

Wotan Package: As above PLUS: signed commemorative concert programme; dinner with members of the cast on Wednesday 24 January 2018. £375 per person Please note there are just 20 Wotan packages available.

Generously supported by members of the Orchestra’s Ring Cycle Syndicate and patrons of our Golden Gala Evening.

lpo.org.uk/vj10

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Inspiration and

joy

ˇ á K STRING SEXTET DVO r SCHUBERT OCTET

soloists of the London Philharmonic Orchestr a Tuesday 28 November 2017 7.30pm Wigmore Hall Tickets £15/£20/£26/£32/£37+feeS LPO Box Office 020 7840 4242 Mon – Fri 10:00am – 5:00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 by phone

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Wigmore Hall Box Office 020 7935 2141 Telephone: 7 days a week 10:00am – 7:00pm In person: 7 days a week 10:00am – 8:30pm wigmore-hall.org.uk Transaction fees: £2 online, £3 by phone

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 Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

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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 Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Associates Kay Bryan William & Alex de Winton Virginia Gabbertas Oleg & Natalya Pukhov Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Hamish & Sophie Forsyth Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan Mr & Mrs Makharinsky 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 Pehr G Gyllenhammar Catherine Høgel & Ben Mardle Matt Isaacs & Penny Jerram Mrs Elizabeth Meshkvicheva The Metherell Family 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 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 Mr Roger Greenwood Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home Mr Glenn Hurstfield Rose & Dudley Leigh Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble

14 | London Philharmonic Orchestra

Noel Otley JP & Mrs Rachel Davies Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Anonymous 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 Roger & Clare Barron Mr Geoffrey Bateman Gabor Beyer, through BTO Management Consulting AG David & Patricia Buck Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Peter Cullum CBE Mr Timonthy Fancourt QC Marie-Laure Favre-Gilly de Varennes de Beuill Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Mr Ralph Kanza 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 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 Ralph & Elizabeth Aldwinckle Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE 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 Christopher Queree 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 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 Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Corporate Donors Arcadis Christian Dior Couture Fenchurch Advisory Partners Giberg Goldman Sachs Pictet Bank White & Case LLP Corporate Members Gold Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Accenture Ageas BTO Management Consulting AG Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Fevertree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations ABO Trust 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 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 The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw 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 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

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education and Community Director

Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Project Manager