London Philharmonic Orchestra 5 Nov 2016 concert programme by London Philharmonic Orchestra

MUSIC IS OUR WORLD. WE WANT TO SHARE ITS ASTONISHING POWER AND WONDER WITH YOU. Concert programme 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

Southbank Centre’s Royal Festival Hall Saturday 5 November 2016 | 7.30pm

Beethoven Missa Solemnis in D major, Op. 23 (81’)

Sir Mark Elder conductor Lucy Crowe soprano Paula Murrihy mezzo soprano Allan Clayton tenor Peter Rose bass London Philharmonic Choir Please note there will be no interval during this performance.

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

Contents 2 Welcome LPO news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Sir Mark Elder 7 Lucy Crowe Paula Murrihy 8 Allan Clayton Peter Rose 9 London Philharmonic Choir 10 Programme notes and text 14 On the LPO Label 15 Next concerts 16 Latest CD release CD Subscription packages 17 Sound Futures donors 18 Supporters 20 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 7960 4250, 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.

LPO news

This month’s LPO Label release: Masur conducts Beethoven Symphonies Brand new 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: he conducted Beethoven with insight and cohesion, these concert performances conducted from memory. 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. Christmas gifts from the LPO If you’re searching for an unusual present this year for a classical music lover, the London Philharmonic Orchestra has a fantastic range on offer, from annual gift memberships for our Friends or Contemporaries schemes, to an annual CD subscription with a new release delivered to the recipient’s letterbox each month, to LPO gift vouchers that are valid for a year and can be used to buy concert tickets or CDs. Browse the full selection at lpo.org.uk/gifts or call the LPO Ticket Office on 020 7840 4242. 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 tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Ilyoung Chae Chair supported by an anonymous donor

Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Grace Lee Second Violins Andrew Storey Principal Jeongmin Kim Chair supported by Friends of the Orchestra

Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Sioni Williams Harry Kerr Elizabeth Baldey

Violas Cyrille Mercier Principal Gregory Aronovich Katharine Leek Susanne Martens Emmanuella Reiter Laura Vallejo Naomi Holt Isabel Pereira Martin Fenn Martin Wray Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Chair supported by Drs Oliver & Asha Foster

Sue Sutherley

Flutes Juliette Bausor Principal Sue Thomas*

Trumpets Paul Beniston* Principal Anne McAneney*

Chair supported by Victoria Robey OBE

Chair supported by Geoff & Meg Mann

Oboes Ian Hardwick* Principal Alice Munday

Trombones David Whitehouse Principal Andrew Connington

Clarinets Thomas Watmough Principal Paul Richards

Bass Trombone Lyndon Meredith Principal Timpani Simon Carrington* Principal

Bassoons Gareth Newman Principal Laura Vincent

Organ James Sherlock

Contrabassoon Simon Estell* Principal

* Holds a professorial appointment in London

Horns David Pyatt* Principal

† Chevalier of the Brazilian Order of Rio Branco

Chair supported by Simon Robey

Meet our members: lpo.org.uk/players

John Ryan* Principal Double Basses Kevin Rundell* Principal Sebastian Pennar Sub-Principal George Peniston Lowri Morgan Charlotte Kerbegian Jakub Cywinski

Chair supported by Laurence Watt

Martin Hobbs Duncan Fuller Gareth Mollison

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Molly & David Borthwick • Andrew Davenport • William & Alex de Winton • Dr Barry Grimaldi

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,

Pieter Schoeman leader

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.

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

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 page 16).

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.

London Philharmonic Orchestra | 5

Sir Mark Elder conductor

Elder produced an account of this miraculous score [Wagner’s Parsifal] which, for a combination of passion and precision, surpassed any other that I have ever heard.

Michael Tanner, The Spectator, 31 August 2013

Sir Mark Elder is Music Director of the Hallé, a Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of Opera Rara. He was Music Director of English National Opera from 1979–93 and has been Principal Guest Conductor of the City of Birmingham Symphony Orchestra, BBC Symphony Orchestra and London Mozart Players. Sir Mark Elder has appeared annually at the BBC Proms in London for many years, including, in 1987 and 2006 the internationally televised Last Night of the Proms. He works regularly at the most prominent international venues including the Bayreuth Festival, New York’s Metropolitan Opera, and the opera houses of Chicago, San Francisco, Paris, Munich, Amsterdam and Zürich. Sir Mark Elder has made many recordings and since the launch of the Hallé label in 2003 his releases have met with universal critical acclaim, culminating in consecutive Gramophone Awards over the past three years. In 2011 Sir Mark co-presented BBC Television’s fourpart series ‘Symphony’, and in 2012 he acted as chair of the judging panel on BBC2’s TV series ‘Maestro at the Opera’. Sir Mark presented a series of TV programmes on BBC4 during the 2015 Proms in which he introduced eight symphonies ranging from Beethoven to MacMillan. Recent and forthcoming concert engagements include the Chicago Symphony, National Symphony (Washington), London Symphony, Vienna Symphony, Rotterdam Philharmonic, Bergen Philharmonic, Russian National and Budapest Festival orchestras; the Tonhalle-Orchester Zürich; the Orchestra

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dell’Accademia Nazionale di Santa Cecilia in Rome; the Orchestre de la Suisse Romande; and the Orchestra of the Age of Enlightenment. Operatic engagements include a complete performance of Wagner’s Parsifal at the BBC Proms with the Hallé and guest engagements at the Royal Opera House, Covent Garden; the Metropolitan Opera, New York; San Francisco Opera and Dutch National Opera. Sir Mark Elder was awarded the CBE in 1989 and was knighted in 2008. He won an Olivier Award in 1991 for his outstanding work at English National Opera and in May 2006 was named Conductor of the Year by the Royal Philharmonic Society. In 2011 he was awarded Honorary Membership of the Royal Philharmonic Society.

Paula Murrihy

soprano

mezzo soprano

Born in Staffordshire, Lucy Crowe studied at the Royal Academy of Music, where she was recently appointed a Fellow. She has established herself as one of the leading lyric sopranos of her generation. With repertoire ranging from Purcell, Handel and Mozart to Donizetti’s Adina and Verdi’s Gilda, Lucy has sung with opera companies throughout the UK and Europe including the Royal Opera, Covent Garden, Glyndebourne Festival Opera, English National Opera, Deutsche Oper Berlin and the Bavarian State Opera. She made her USA operatic debut as Iole (Handel’s Hercules) for Chicago Lyric Opera, reprising the role for the Canadian Opera Company, and she made her debut with the Metropolitan Opera, New York as Servilia (La clemenza di Tito), returning last season for Adele (Die Fledermaus). On the concert platform she is much in demand with the world’s major orchestras and conductors and has appeared at the Aldeburgh, Edinburgh, Salzburg and Tanglewood festivals and the Mostly Mozart Festival in New York. She is a regular guest at London’s Wigmore Hall, and other recital appearances include New York’s Carnegie Hall. She makes her Royal Concertgebouw recital debut this season. Lucy’s 2016/17 operatic plans include the title role in Rodelinda at the Teatro Real Madrid and Ismene (Mitridate) at the Royal Opera House. In concert she will appear with The Philadelphia Orchestra and Yannick Nézet-Séguin; on tour with the London Symphony Orchestra under Sir John Eliot Gardiner; the Czech Philharmonic with Jiří Bělohlávek; the Boston Symphony Orchestra and Andris Nelsons; and the Orchestra dell’Accademia Nazionale di Santa Cecilia under Sir Antonio Pappano. Her discography ranges from Handel and Vivaldi to Lutosławski, Janáček and Szymanowski under such conductors as Harry Bicket, Christian Curnyn, David Bates, Emmanuelle Haïm, Edward Gardner, Ivor Bolton and Vladimir Jurowski.

Lucy Crowe

Irish mezzo soprano Paula Murrihy studied at DIT Conservatory in Dublin and the New England Conservatory, and has been a BrittenPears Young Artist, an apprentice at Santa Fe Opera and part of San Francisco Opera’s Merola Program. After being spotted at the Neue Stimmen Competition in 2009, Paula was invited to join the acclaimed ensemble of Frankfurt Opera. Her numerous appearances have included Annio in La clemenza di Tito, Medoro in Orlando Furioso, Dido in Dido and Aeneas, Lazuli in L’étoile, Dorabella in Così fan tutte, Orontea and Octavian in Der Rosenkavalier, Hänsel in Hänsel und Gretel and Polissena in Radamisto. She recently made her role debut as Carmen to critical acclaim. Paula has performed across Europe and the USA including Ino in Semele (Boston Lyric Opera), Second Lady in The Magic Flute (Santa Fe Opera), Annio (Chicago Opera Theater), Cherubino in The Ghosts of Versailles (Opera Theatre St Louis) and Dido (Los Angeles Opera). She has appeared at the Royal Opera House, Covent Garden, English National Opera, Théâtre Capitole Toulouse and Opéra de Nice, and recently performed Octavian in Der Rosenkavalier at De Nationale Opera Amsterdam and the Staatsoper Stuttgart. As an accomplished concert artist, Paula has performed with the Boston Handel & Haydn Society, the Orchestre de Chambre de Paris and the Saint Paul Chamber Orchestra. She made her BBC Proms debut this summer in Haydn’s Paukenmesse with the Orchestra of the Age of Enlightenment, and has appeared at the Aldeburgh Festival, the Shannon International Music Festival and the Diaghilev Festival in Russia. 2016/17 features Paula’s debut at the Metropolitan Opera, New York, as Stéphano in Roméo et Juliette, and a return to Santa Fe Opera for Ruggiero in Alcina and Count Orlofsky in Die Fledermaus. She also joins Teodor Currentzis and MusicAeterna for a short tour of Purcell’s The Indian Queen and the Netherlands Radio Philharmonic Orchestra for Elijah.

London Philharmonic Orchestra | 7

Peter Rose

tenor

bass

Allan Clayton is established as one of the most exciting and sought-after singers of his generation. A consummate actor and deeply sensitive musician, he has made a huge impact on the international operatic and concert scene. Allan takes the lead role in Brett Dean’s Hamlet, which will receive its world premiere at Glyndebourne Festival Opera in 2017. At the end of 2016 he will be part of the world premiere of Gerald Barry’s Alice’s Adventures Under Ground in Los Angeles and then the European premiere at London’s Barbican with Britten Sinfonia, conducted by Thomas Adès. During March 2017 Allan will sing the role of David in Die Meistersinger von Nurnberg at the Royal Opera House, Covent Garden. Allan also has a busy and varied concert career, with appearances including Elgar’s The Dream of Gerontius at the Barbican with the London Symphony Orchestra and Sir Mark Elder; Britten’s War Requiem with the BBC Symphony Orchestra and Semyon Bychkov; and Handel’s Messiah for the Handel and Haydn Society in Boston. He appears regularly at the BBC Proms, where he has sung the title role in Stravinsky’s Oedipus Rex with the BBC Symphony Orchestra conducted by Sakari Oramo, and also performed in Vaughan Williams’s ‘Pastoral’ Symphony with the BBC Scottish Symphony Orchestra under Andrew Manze. A consummate recitalist, Allan has given Lieder recitals at the Cheltenham, Perth and Aldeburgh festivals. He returns to Wigmore Hall in July 2017 for a recital of Shakespeare songs with Sophie Bevan, accompanied by Chris Glynn. Allan Clayton studied at St John’s College, Cambridge and at the Royal Academy of Music in London. An Associate of the Royal Academy of Music and former BBC New Generation Artist from 2007–09, his awards include The Queen’s Commendation for Excellence and a Borletti-Buitoni Trust Fellowship.

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Allan Clayton

A regular guest at the world’s greatest opera houses including the Metropolitan Opera in New York; The Royal Opera, Covent Garden; La Scala, Milan; Vienna; Paris; Rome; Berlin; Munich and Bayreuth, Peter Rose’s enormous repertoire includes Ochs, Gurnemanz, Ramphis, Fasolt, Somnus, Daland, King Marke, Commendatore, Basilio, Kecal, Banquo, Philip, Prince Gremin, Leporello, Osmin, Zaccaria, La Roche, Claggart and Falstaff. He has won particular acclaim for his performances of Bottom, which he has sung in Aix-en-Provence, Paris, Chicago, Barcelona, London, Rome, New York (on the occasion of his debut at the Metropolitan Opera) and for Glyndebourne Festival Opera. A prolific concert artist, Peter’s engagements have included Beethoven’s Symphony No. 9 with Carlo Maria Giulini, Lorin Maazel and Daniel Barenboim; Mozart’s Requiem with Sir Charles Mackerras, Daniel Barenboim, Zubin Mehta and Vladimir Jurowski; Mahler’s Symphony No. 8 with Michael Tilson Thomas; Verdi’s Requiem with Carlo Rizzi; Berlioz’s La damnation de Faust with the Chicago Symphony Orchestra and Sir Georg Solti; Ravel’s L’enfant et les sortilèges and L’heure espagnole with The Cleveland Orchestra and Pierre Boulez; Beethoven’s Missa Solemnis with the New York Philharmonic and Kurt Masur; and Bach’s St Matthew Passion with the Rotterdam Philharmonic. Engagements this season include the four villains in Les contes d’Hoffmann for the Semperoper Dresden; Osmin for the Bayerische Staatsoper and De Nederlandse Oper; and Bartolo and Ochs for the Wiener Staatsoper. As well as tonight’s appearance with the London Philharmonic Orchestra, other concert engagements this season include Haydn’s The Creation with the Houston Symphony Orchestra, and Arkel in Debussy’s Pelléas et Mélisande with The Cleveland Orchestra.

London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Ian Frost | Choir Manager Tessa Bartley

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for almost 70 years and made numerous recordings for CD, radio and television. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Highlights in recent years have included Mahler’s Symphony No. 2 under the Orchestra’s Principal Guest Conductor Andrés OrozcoEstrada, Rachmaninoff’s The Bells with Vasily Petrenko, Taneyev’s St John of Damascus and Szymanowski’s Stabat Mater under the Orchestra’s Principal Conductor and Artistic Advisor Vladimir Jurowski, and Brahms’s German Requiem with Christoph Eschenbach. This season the Choir looks forward to a packed schedule of choral classics including Haydn’s The Creation, Mozart’s Requiem and Mahler’s epic Symphony No. 8, the latter as part of the Choir’s 70th birthday celebrations in 2017.

Sopranos Chris Banks, Tessa Bartley, Hilary Bates, Nicola Booth, Catherine Boxall, Hannah Boyce, Vicki Brammall, Laura Buntine, Carole Cameron, Charlotte Cantrell, Olivia Carter, Paula Chessell, Alana Clark, Emily Clarke, Eve Commander, Sally Cottam, Antonia Davison, Victoria Denard, Jessica Dixon, Lucy Doig, Rachel Gibbon, Lydia Grant, Jane Hanson, Catherine Harris, Sally Harrison, Carolyn Hayman, Camille Hirons, Jenni Kilvert, Olivia Knibbs, Liz Lawrence, Joy Lee, Clare Lovett, Natallia Maslava, Janey Maxwell, Claire Moody, Harriet Murray, Mariana Nina, Carmel Oliver, Linda Park, Lydia Pearson, Rosie Philpott, Marie Power, Stephanie Rawlins, Dani Reece-Greenhalgh, Rebecca Schendel, Rebecca Sheppard, Sarah Skinner, Victoria Smith, Katie Stuffelbeam, Susan Thomas, Isobel Timms, Rachel Topham, Jo Webster, Charlotte Wielgut, Rochelle Williams Altos Christine Allison, Deirdre Ashton, Phye Bell, Sally Brien, Andrei Caracoti, Noel Chow, Liz Cole, Sara de la Serna, Fiona Duffy-Farrell, Andrea Easey, Henrietta Fisher, Regina Frank, Bethea Hanson-Jones, Emily Hill, Katherine Hodgkinson, Charlotte Kingston, Marissa Landy, Andrea Lane, Ethel Livermore, Laetitia Malan, Ian Maxwell,

The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. The Choir has appeared twice at the Touquet International Music Masters Festival, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem. Last season it travelled to Brussels, performing Szymanowski’s Stabat Mater and Zemlinsky’s Psalm 23, Op. 14. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit lpc.org.uk

Caroline Morris, Sophie Morrison, Annabeth Murphy-Thomas, Rachel Murray, John Nolan, Sheila Rowland, Carolyn Saunders, Rima Sereikiene, Susi Underwood, Jenny Watson, Emma Windle Tenors David Aldred, Scott Addison, Geir Andreassen, Tim Appleby, Chris Beynon, James Clarke, Kevin Darnell, Robert Geary, Alan Glover, Josh Haley, Iain Handyside, Stephen Hodges, Patrick Hughes, Andrew Mackie, Tony Masters, Luke Phillips, Javier Ruiz, Knut Olav Rygnestad, Keith Saunders, Jaka Škapin, Owen Toller, Claudio Tonini, Tony Wren, Martin Yates Basses Martyn Atkins, Christopher Bacon, Jonathon Bird, Peter Blamire, Gordon Buky-Webster, Filipe Caetano, Geoff Clare, Bill Cumber, Phillip Dangerfield, Marcus Daniels, Ian Frost, Christopher Harvey, Nicholas Hennell-Foley, Mark Hillier, Stephen Hines, David Hodgson, Martin Hudson, Alan Jones, David Kent, John Luff, John G Morris, John D Morris, William Parsons, Johannes Pieters, Jonathan Riley, John Salmon, Edwin Smith, Peter Sollich, Peter Taylor, Alex Thomas, James Torniainen, Hin-Yan Wong, John Wood London Philharmonic Orchestra | 9

Programme note and text

Ludwig van Beethoven 1770–1827

Missa Solemnis in D major, Op. 23 (1819–22) Lucy Crowe soprano Paula Murrihy mezzo soprano Allan Clayton tenor Peter Rose bass London Philharmonic Choir

1 Kyrie 2 Gloria 3 Credo 4 Sanctus 5 Agnus Dei In the autumn of 1818 it came to Beethoven’s knowledge that the Archduke Rudolf of Austria, brother of the Emperor, was to be made Archbishop of Olmütz in Moravia. Rudolf had long been the composer’s friend, patron and pupil, and Beethoven resolved to compose a Mass for the enthronement ceremony. The Archduke’s election was officially announced in June 1819, and Beethoven wrote to him: ‘The day on which a Mass composed by me will be performed during the ceremonies solemnized for Your Imperial Highness will be the most glorious of my life, and God will enlighten me so that my poor talents may contribute to the glorification of that solemn day.’ There was true affection and respect between the two men; the Archduke had provided the composer with an annual pension since 1809, and Beethoven had dedicated to him some of his best works. The Mass was intended as the glorious crown of their relationship. Before setting to work Beethoven studied past church music, copied out some choruses from Handel’s Messiah and had the Latin text of the Mass translated into German to ensure that he did not misunderstand any of it. By the middle of 1819 the sketching of the Missa Solemnis was well underway. Anton Schindler reported that he had never seen the composer so oblivious to all earthly matters. Visiting his summer quarters near Vienna with a friend that August, he found that both servants had fled after a quarrel and that Beethoven had had nothing to eat for 24 hours. ‘In the living room, which was locked, we heard the master singing parts of the fugue in the Credo – singing, howling, stamping.’ 10 | London Philharmonic Orchestra

Trouble with servants was the least of Beethoven’s worries. Poor health limited the time he could devote to composition, and everything was overshadowed by a lawsuit concerning his nephew and ward, Karl. Moreover, the Mass did not take shape quite as Beethoven had expected. Each movement took on greater dimensions than originally planned. Consequently, the Mass was not finished in time for the Archbishop’s enthronement in March 1820. It took until December 1822 to complete. Having despatched a dedicated score to Rudolf, Beethoven offered copies for sale to various sovereigns and nobles. One subscriber, the Russian Prince Nicholas Galitsin, organised the first performance, which took place in St Petersburg on 26 March 1824. The Kyrie, Credo and Agnus Dei were performed in Vienna on 7 May in the concert that introduced the Ninth Symphony. Beethoven was present but too deaf to hear a note. The first complete performance in Vienna did not take place until after his death. Beethoven was born into a Catholic family and never formally renounced the faith. He taught his nephew to pray, and he received the last rites on his deathbed. But he had little liking for organised religion, and churchmen responded by being suspicious of his Missa Solemnis, which was not really suited to liturgical use. He was, however, a religious man. He believed in God as an all-powerful, loving Father, a universal presence in nature and influence on human aspirations, real yet not to be truly comprehended by mankind. Instinctively he felt the immense majesty of a personal God and

humanity’s dependence upon God’s love. These feelings, which may be sensed by the listener throughout the Mass, contribute to the awesome effect that the work makes. It is a sublime work expressing the personal faith of a confessed imperfect Christian. At the head of the first movement Beethoven wrote: ‘From the heart – may it in turn go to the heart!’ In striving to give his ideas musical form Beethoven could not study the performers’ convenience. Not only are the choral sopranos taken repeatedly up to A and even B, but all four sections of the choir are put under strain at the bottom of their range. Singers are required to phrase with the rhythmic precision and attack of an orchestral instrument, to sustain long passages at uncomfortable pitches and to get tongues round many syllables at extremes of pitch.

1 KYRIE The Missa Solemnis is not divided into separate numbers but composed as five essentially symphonic movements. Soloists and choir alternate according to the needs of the text, the former usually standing as individuals making personal utterances while the chorus represents the mass of humanity. The text largely determines the shape of each movement. So the three-part text of the Kyrie dictates a ternary musical scheme. The first Kyrie, marked ‘With devotion’, is in

D major and 4/4 time. A solitary voice three times echoes the choir as though to emphasise the personal significance of the general prayer. The time changes to 3/2 for Christe eleison in related B minor. Here the soloists precede the choir, pairing off after a while in companionable thirds symbolising Christ walking with man as friend and helper. The second Kyrie is addressed to the Holy Spirit, so the reprise of the initial music is varied, the voices entering in a new key, G major.

Kyrie eleison, Christe eleison, Kyrie eleison.

Lord, have mercy, Christ, have mercy, Lord, have mercy.

2 GLORIA The first part of the Gloria glorifies God, the second is concerned with sinful mankind seeking Christ’s mercy, and the third makes a synthesis of the first two. Beethoven’s strenuous setting is full of sharp contrasts. It begins in D major with a great shout of praise to a theme driven irresistibly. The plea for peace is hushed, but the praise quickly resumes and glorificamus te becomes a fugato, ending with a sustained burst of C major. The key modulates to B flat for the lyrical

Gratias agimus, which brings in the soloists. The initial tempo and mood return at Domine Deus, and the words Deus Pater omnipotens (‘God the Father almighty’) occasion a triple-forte climax with the first use of trombones in the work. Domine Fili is marked by the return of the thirds from the middle section of the Kyrie. In the second section of the movement (beginning at Qui tollis), prayers to Christ are again set with the soloists’ harmony in thirds. Word setting

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Programme note and text continued

in this Larghetto in F is especially expressive. A tempo change to Allegro maestoso marks the start of the final section (Quoniam). This is another great hymn of praise, culminating in a four-part fugue on a theme derived

from the Kyrie. At the end the opening theme returns at presto tempo, and the choir glorifies God with repeated shouts of the first word.

Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.

Glory be to God on high. And on earth peace to men of good will. We praise Thee, we bless Thee, We worship Thee, we glorify Thee. We give thanks to Thee for Thy great glory. Lord God, heavenly king, God the Father almighty. Lord the only begotten Son, Jesus Christ, Lord God, Lamb of God, Son of the Father. Thou that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right hand of the Father, have mercy upon us. For Thou only art holy, Thou only art the Lord, Thou only art most high, Jesus Christ. With the Holy Ghost in the glory of God the Father. Amen.

Quoniam tu solus sanctus, Tu solus Dominus, Tu solus altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen.

3 CREDO The text of the Creed, setting forth the fundamental Christian beliefs, divides into three sections and thereby suggests a ternary musical form, but Beethoven divides his three parts differently to provide two massive assertions of faith enclosing a more intimate account of Christ’s birth, crucifixion and resurrection. He makes the Credo stand out musically between the D major movements on either side by setting it in the key of B flat. A sturdy theme proclaims belief in one God, the choral sopranos rising to a sustained fortissimo B flat at omnipotentem. For Et incarnatus est, which opens the central section, the tempo changes to Adagio and the key to D minor with archaic modal harmony. As all four soloists sing of the Virgin birth the strings are reduced and a flute flutters high above, representing the dove that was

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a symbol of the Holy Spirit in religious paintings. The music moves into D major at Et homo factus est, the solo tenor and choir dwelling on the word homo, filled with wonder at the thought of Christ made man. Without pause the music continues with a meditation on Christ’s crucifixion and burial and the choir’s unaccompanied proclamation – in the old Mixolydian mode – of the resurrection. Mention of Christ coming to ‘judge both the quick and the dead’ brings a reference by the trombones to the Last Trump. The opening Credo theme is recapitulated to the movement’s concluding words. What especially seizes Beethoven here is the expectation of ‘the life of the world to come’, and he makes these words – Et vitam venturi – the basis of a mighty, technically ingenious double fugue.

Credo in unum Deum, Patrem omnipotentem, Factorem coeli et terrae, Visibilium et invisibilium. Credo in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum non factum consubstantialem Patri, per quem omnia facta sunt; Qui propter nos homines, et propter nostram salutem descendit de coelis. Et incarnatus est de Spiritu Sancto ex Maria Virgine; et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato. Passus et sepultus est. Et resurrexit tertia die secundum Scripturas; et ascendit in coelum, sedet ad dexteram Dei Patris, et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis. Credo in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit, qui cum Patre et Filio simul adoratur et conglorificatur, qui locutus est per Prophetas. Credo in unam sanctam Catholicam et Apostolicam Ecclesiam. Confiteor una baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.

I believe in one God, The Father almighty, Maker of heaven and earth, Of all things visible and invisible. I believe in one Lord Jesus Christ, the only begotten Son of God, born of the Father before all worlds. God of God, light of light, true God of true God, begotten, not made, being of one substance with the Father, by whom all things were made; Who for us men, and for our salvation came down from heaven. And was incarnate by the Holy Ghost of the Virgin Mary; and was made man. He was crucified for us under Pontius Pilate. He suffered and was buried. And the third day he rose again according to the Scriptures; and ascended into heaven, and sitteth at the right hand of God the Father and He shall come again with glory to judge both the quick and the dead, whose kingdom shall have no end. I believe in the Holy Ghost, the Lord and giver of life, who proceedeth from the Father and the Son, who with the Father and the Son together is worshipped and glorified, who spake by the Prophets. I believe in one holy Catholic and Apostolic Church. I acknowledge one baptism for the remission of sins. And I look for the resurrection of the dead, and the life of the world to come. Amen.

4 SANCTUS For Beethoven the thought of God as Lord God of Hosts is a moment for reverent obeisance and awe. Soft trombones emphasise the solemnity, and the words are given to soloists rather than the choir. This opening B minor passage is marked ‘Adagio with devotion’. Joy breaks out in a D major fugato at Pleni sunt coeli (‘Heaven and earth are full of Thy glory’), and the

following Osanna. Solemnity returns in an orchestral prelude to Benedictus, which Beethoven incorporates in the movement instead of setting separately. At this point in the church service believers hold that bread and wine have been transformed into the body and blood of Christ. Beethoven’s musical illustration introduces a solo violin and two flutes, which descend from high

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Programme note and text continued

aloft. ‘Blessed is he that cometh in the name of the Lord’, the basses intone, and the violin symbolises the Divine presence in a G major solo, which continues through the subsequent vocal entries. After a repeat of Osanna the violin solo resumes and ascends to the regions whence it came. Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth, Pleni sunt coeli et terra gloria tua. Osanna in excelsis. Benedictus qui venit in nomine Domini. Osanna in excelsis.

Holy, holy, holy, Lord God of Hosts, Heaven and earth are full of Thy glory. Hosanna in the highest. Blessed is he that cometh in the name of the Lord. Hosanna in the highest.

5 AGNUS DEI The final section of the Mass begins with a prayer to Christ for forgiveness. The key is dark B minor and the instrumental colours are sombre, with bassoons and horns prominent. The solo bass begins the threefold prayer, and gradually the other voices join him. This leads to Dona nobis pacem, which the composer names as a prayer for inward and outward peace. The key turns to D major and the tempo quickens for this double fugue, but ominously martial sounds break in and the

singers reiterate their first prayer urgently. Beethoven knew the horrors of war at first hand, and peace meant for him freedom from war as well as achieving spiritual serenity. Dona nobis is resumed, but again the noise of war interrupts in B minor, prompting an anguished cry of Agnus Dei. Once more the prayer for peace is offered up. The trumpets have now fallen silent, but there is a reminder of distant drums before the close, making the end of the Mass truly though calmly prayerful.

Agnus Dei, qui tollis peccata mundi, miserere nobis. Dona nobis pacem.

Beethoven’s Missa Solemnis on the LPO Label Sir Georg Solti conductor Helen Donath soprano | Doris Soffel mezzo soprano Siegfried Jerusalem tenor | Hans Sotin bass Edinburgh Festival Chorus | London Philharmonic Orchestra £9.99 | LPO-0077

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

14 | London Philharmonic Orchestra

Next concerts at Southbank Centre’s Royal Festival Hall wednesday 9 november 2016 7.30pm Beethoven Violin Concerto Dvořák Symphony No. 9 (From the New World) Robin Ticciati conductor Anne-Sophie Mutter violin

WEDNESDAY 30 november 2016 7.30pm Weber Overture, Der Freischütz Mozart Clarinet Concerto Rachmaninoff Symphony No. 2 Andrés Orozco-Estrada conductor Julian Bliss clarinet

Free pre-concert event | 6:15pm Julian Bliss discusses Mozart’s Clarinet Concerto and his career to date.

friday 2 december 2016 7.30pm jti friday SERIES

Weber Overture, Euryanthe Bruch Violin Concerto No. 1 Beethoven Symphony No. 3 (Eroica) Andrés Orozco-Estrada conductor Hilary Hahn violin

WEDNESDAY 7 December 2016 7.30pm Glinka Spanish Overtures Prokofiev Cello Concerto Dargomyzhsky Baba-Yaga (Fantasy-Scherzo) Tchaikovsky Symphony No. 2 (Little Russian) Vladimir Jurowski conductor Steven Isserlis cello Concert generously supported by Victoria Robey OBE

Book now lpo.org.uk 020 7840 4242 London Philharmonic Orchestra | 15

New on the LPO Label: Beethoven Symphonies Nos. 1 & 4 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-too-familiar, 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

LPO CD Subscription Packages – the perfect gift Treat yourself or someone you know to a subscription to the London Philharmonic Orchestra's CD releases and receive all the new releases on the LPO label for a whole year, mailed before the CDs are available in the shops. The perfect birthday or Christmas gift for a music lover! Available online at lpo.org.uk/recordings or from the LPO Ticket Office (020 7840 4242)

One-year CD subscription: £79.99 10 CDs (worth at least £100) Exclusive pre-release mailing Inclusive of P&P

Half-year CD subscription: £44.99 5 CDs (worth at least £50) Exclusive pre-release mailing Inclusive of P&P

16 | London Philharmonic Orchestra

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 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 Robert Markwick & Kasia Robinski The Rind Foundation 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 Lady 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 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 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 Grenville & Krysia Williams

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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 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 Robert Ross 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.

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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