London Philharmonic Orchestra 5 Feb 2017 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

Devonshire Park Theatre, Eastbourne Sunday 5 February 2017 | 3.00pm

J S Bach Brandenburg Concerto No. 3 in G major, BWV 1048 (10’) J S Bach Concerto for Two Violins in D minor, BWV 1043 (16’) Interval (20’) Vivaldi The Four Seasons, Op. 8 Nos. 1–4 (39’)

Pieter Schoeman director/violin Andrew Storey violin

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 Next LPO concerts 4 About the Orchestra 5 LPO Eastbourne Appeal 6 Pieter Schoeman Andrew Storey 7 Programme notes 10 Supporters 12 LPO administration

Welcome

Orchestra news

Welcome to the Devonshire Park Theatre, Eastbourne

We are delighted to be here at the Devonshire Park Theatre for this, the second half of our 2016/17 Eastbourne season. We hope you enjoy today's concert featuring the virtuosity of some of our Principal players, and we very much hope you can join us for more gems from the chamber repertoire here at Devonshire Park in March and April (see panel on right).

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 our atmospheric Victorian playhouse, the Devonshire Park Theatre. It is a wonderful opportunity to introduce the London Philharmonic Orchestra to its delightful acoustics and we invite you to immerse yourself in its historic surroundings. 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.

Glyndebourne 2017 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: violin works by Tchaikovsky & Lalo Recently released on the LPO Label (LPO-0094) is a disc of violin works performed by Augustin Hadelich. Featuring Tchaikovsky's Violin Concerto conducted by Vasily Petrenko and Lalo's Symphonie espagnole conducted by Omer Meir Wellber, the disc is priced at £9.99 and 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. Disc generously supported by the Borletti-Buitoni Trust.

Out now The Spring 2017 edition of Tune In, our free twice-yearly magazine. Phone the LPO office on 020 7840 4200 to receive one in the post, or read the digital version at issuu.com/londonphilharmonic

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On stage today

Pieter Schoeman director/violin

Next concerts at Eastbourne's Devonshire Park Theatre

Chair supported by Neil Westreich

Andrew Storey violin

Sunday 12 MARCH 2017 3.00pm

DEVONSHIRE PARK THEATRE First Violins Kevin Lin Guest Leader Ilyoung Chae Chair supported by the Candide Trust

Ji-Hyun Lee Chair supported by Eric Tomsett

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

Katalin Varnagy Chair supported by Sonja Drexler

Second Violins Andrew Storey Principal Ashley Stevens Kate Birchall Joseph Maher Violas David Quiggle Guest Principal Cyrille Mercier Co-Principal Robert Duncan Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Elisabeth Wiklander Chair supported by Drs Oliver & Asha Foster

Santiago Carvalho Chair co-supported by Molly & David Borthwick

Double Bass Tom Walley Harpsichord Catherine Edwards

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert:

Sunday 23 APRIL 2017 3.00pm DEVONSHIRE PARK THEATRE

Brahms Horn Trio Schubert Piano Quintet in A major (‘Trout’) Soloists of the London Philharmonic Orchestra

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

Book now eastbournetheatres.co.uk 01323 412000 Tickets £13–£29

Series discounts of up to 25% available

David & Yi Buckley • Andrew Davenport William & Alex de Winton • Friends of the Orchestra Dr Barry Grimaldi • Geoff & Meg Mann • Sir Simon Robey Victoria Robey OBE • Bianca & Stuart Roden • Laurence Watt

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

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 tonight 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 Ellie Franklin on 020 7840 4225 or ellie.franklin@lpo.org.uk

London Philharmonic Orchestra | 5

Pieter Schoeman

Andrew Storey

director/violin

violin

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. 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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Andrew Storey began playing the violin at the age of seven in his home city of Norwich. He continued his studies with a scholarship at the Royal Academy of Music in London, studying with Frederick Grinke, Manoug Parikian, Carmel Kaine and Erich Gruenberg. Previously a member of the Medea String Quartet (resident at York University), Scottish Chamber Orchestra, Scottish Ensemble and Schidlof Quartet, Andrew was Principal Second Violin of the Royal Philharmonic Orchestra from 2003 until his appointment to the LPO in 2016. He has also appeared as Guest Principal with the Philharmonia, BBC Symphony and Hallé orchestras; the Orchestra of the Royal Opera House; the English National Opera Orchestra; and various chamber orchestras.

Programme notes

Speedread The Italian genre of the concerto entered a new phase in early 18th-century Venice, with a standardised form of three movements, fast, slow and fast, and an emphasis on virtuoso display and expressive lyricism in the solo parts. The influence of this new type of concerto spread rapidly across Europe, thanks largely to the publication of many examples in Amsterdam. In Germany, Johann Sebastian Bach took up the new form with enthusiasm, but characteristically gave it an individual twist: in the third of his ‘Brandenburg' Concertos’ by treating every member of the nine-

Johann Sebastian Bach 1685–1750

In March 1721, Bach, then director of music to the Prince of Anhalt-Cöthen, put together a set of six ‘Concertos for several instruments’ for presentation to another aristocratic patron, the Margrave of Brandenburg – presumably in the hope of future employment, though if so he was to be disappointed. These ‘Brandenburg Concertos’ were not specially written, but were fair-copied or adapted from existing works by Bach in the repertoire of the Cöthen court orchestra. Some of them are based on the concerto’s traditional opposition between a group of soloists and the main orchestra; but two, the Third and Sixth, are conceived as chamber music for solo strings and continuo (the baroque ‘rhythm section’ playing the bass line and harmonic filling-in above it). No. 3 is scored for the unique combination of three violins, three violas and three cellos, with a continuo accompaniment of violone (or double bass) and

part string ensemble as a soloist; in his celebrated Concerto for Two Violins by endowing the music with exceptional richness and intensity of thought and expression. The outstanding Venetian composer of the period was the violinist Antonio Vivaldi; but the most famous set of concertos among his Amsterdam publications departed from the norm, by being conceived as detailed depictions of the pleasures (and occasionally the hardships) of rural life in the Four Seasons, spring, summer, autumn and winter.

Brandenburg Concerto No. 3 in G major, BWV 1048 1 Allegro moderato 2 Adagio – 3 Allegro

harpsichord. Even without the division into soloists and main orchestra, the breathtakingly energetic first movement has the outline of the standard concerto Allegro of the time, with recurring, varied statements of the main idea (‘ritornelli’) alternating with episodes highlighting different sections or soloists in succession – sometimes quick succession. After this movement, Bach wrote no more than a pair of chords, forming the kind of cadence which might end a movement in E minor. No-one knows for sure whether he envisaged these chords as the conclusion to a borrowed or improvised slow movement, or as the harmonic frame for an improvised cadenza. The latter approach is adopted in this performance, with the cadenza on the harpsichord. The finale is slightly less concerto-like than the first movement, with a ground plan of two repeated ‘halves’ London Philharmonic Orchestra | 7

Programme notes continued

(the second actually longer than the first). The scoring is slightly simplified, too, with the three cellos and the continuo bass in unison all the way through – though with the violins still in three separate parts, and the violas occasionally dividing as well, the effect is still of a kaleidoscopic richness of texture.

Johann Sebastian Bach 1685–1750

This justly famous Double Concerto probably dates, like most of Bach’s concertos, from his years at the Cöthen court, 1717 to 1723. It is scored for a combination that Bach would have encountered in some of Vivaldi’s published concertos, that of two solo violins with four-part string orchestra and continuo. As with many of the Cöthen concertos (including, it is thought, some otherwise lost), Bach later arranged it for solo harpsichords, to be played at meetings of the Leipzig Collegium Musicum. But this version has been all but ignored in favour of the original – not surprisingly, since the solo parts are so perfectly written for the violin, both technically and in the balance they strike between the instrument’s twin qualities of brilliance and lyricism. The first movement reveals with unusual clarity two fundamental aspects of Bach’s compositional style: the way in which he quite naturally thought in terms of fugue – as in the opening orchestral ritornello, which is an accompanied three-part fugal exposition; and the

Concerto for Two Violins in D minor, BWV 1043 Pieter Schoeman | Andrew Storey violins 1 Vivace 2 Largo ma non tanto 3 Allegro

way in which a single instrumental line in his music gains in richness by carrying within it the implications of two-part counterpoint – as in the leaping theme of the first and last solo episodes. The sublime slow movement (but note that ma non tanto – not so slow) indicates how the texture of the trio sonata, two upper parts and accompaniment, was central to Bach’s musical thought. The whole movement consists of the intertwinings of the two solo violins over the gently swinging bass line, with the rest of the strings providing no more than an amplification of the harpsichord’s harmonic filling-in. The final Allegro is a reminder that Bach was as capable of making capital out of the tiniest of motifs as were Haydn and Beethoven in their time. Its first three notes recur throughout the movement in one form or another, helping to propel it onwards with apparently inexhaustible energy.

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

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Antonio Vivaldi

Le Quattro Stagioni (The Four Seasons), Op. 8 Nos. 1–4 Pieter Schoeman director/violin

1678–1741

Violin Concerto No. 1 in E major, RV 269, ‘La primavera’ (Spring) 1 Allegro 2 Largo e pianissimo sempre 3 Danza pastorale: Allegro Violin Concerto No. 2 in G minor, RV 315, ‘L’estate’ (Summer) 1 Allegro non molto 2 Adagio 3 Presto Violin Concerto No. 3 in F major, RV 293, ‘L’autunno’ (Autumn) 1 Allegro 2 Adagio 3 Allegro Violin Concerto No. 4 in F minor, RV 297, ‘L’inverno’ (Winter) 1 Allegro non molto 2 Largo 3 Allegro The best known work of the Venetian violinist, composer, teacher, impresario and priest Antonio Vivaldi, now as in his lifetime, is the cycle of four violin concertos called The Four Seasons. These begin his Op. 8 collection, Il Cimento dell’Armonia e dell’Inventione or ‘The Trial of Harmony and Invention’, published in Amsterdam at the end of 1725 – though it is clear from the foreword to this edition that they had been written and circulated in manuscript some years earlier. The concertos are typical of Vivaldi in their scoring for solo violin with four-part string orchestra and continuo, and in their three-movement form, with the fast outer

movements alternating between ritornelli for the full forces, stating and varying the movement’s main thematic ideas, and more lightly scored solo episodes of virtuoso display. But they are unique in forming a cycle, and in their detailed and literal depiction of sounds, feelings and activities associated with the four seasons in the countryside – which at times, notably in the first movement of ‘Summer’, is even allowed to drive the standard ritornello form off course. In the first edition, a guide to each concerto was provided by means of a descriptive sonnet, printed as a preface and then repeated line by line at the appropriate points in each movement. But most of the musical imagery is in any case quite clear. In the first concerto, ‘Spring’ arrives, with birdsong and a murmuring brook, interrupted by a storm; a goatherd sleeps in the meadow, his faithful dog by his side; and nymphs and shepherds dance to the sound of bagpipes. In the second concerto, in the drowsy heat of ‘Summer’, more birds are calling, but an unexpected north wind causes a shepherd alarm; his rest briefly soothes his fears; but a violent thunderstorm does indeed arise. In ‘Autumn’, the country people celebrate the harvest with dancing and singing, and the wine flows freely; the whole company falls into a deep sleep; but at dawn, the huntsmen ride out with horns, guns and dogs, and track down their quarry. Finally, ‘Winter’ is a time of freezing cold, of stamping feet and chattering teeth; indoors by the fire, everything is peaceful; but outdoors the ice is dangerous, and strong winds blow. Programme notes © Anthony Burton London Philharmonic Orchestra | 9

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

Eric Tomsett Laurence Watt Michael & Ruth West

Orchestra Circle Natalia Semenova & Dimitri Gourji The Tsukanov Family

Silver Patrons Mrs Molly Borthwick Peter & Fiona Espenhahn Mrs Irina Gofman David Goldstone CBE LLB FRICS Rehmet Kassim-Lakha de Morixe John & Angela Kessler Vadim & Natalia Levin The Metherell Family Mr Brian Smith The Viney Family Guy & Utti Whittaker

Principal Associates An anonymous donor Mr Peter Cullum CBE Alexander & Elena Djaparidze Dr Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Sergey Sarkisov & Rusiko Makhashvili Neil Westreich Associates Oleg & Natalya Pukhov Sir 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 Hamish & Sophie Forsyth 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 Virginia Slaymaker

Bronze Patrons An anonymous donor 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 Mr Daniel Goldstein Mr Gavin Graham Mrs Dorothy Hambleton Mr Martin Hattrell Mr Colm Kelleher Rose & Dudley Leigh 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

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Sergei & Elena Sudakova Captain Mark Edward Tennant Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Grenville & Krysia Williams Christopher Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Roger & Clare Barron 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 Mr Alan C Butler 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 Derek B Gray 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 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 Dr Geoffrey Guy The Jackman Family Mrs Svetlana Kashinskaya Niels Kroninger 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 Kevin 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 Ageas 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 The Sampimon 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 | 11

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Roger Barron Richard Brass Desmond Cecil CMG Bruno de Kegel 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

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