London Philharmonic Orchestra 5 Nov 2017 Eastbourne concert programme by London Philharmonic Orchestra

b e m ov e d IN Eastbourne

2017/18 Season at Devonshire Park Theatre 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

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

Dvořák String Sextet in A major, Op. 48 (28’) Interval (20’) Schubert Octet in F major, D803 (53’)

Soloists of the London Philharmonic Orchestra

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 About the Orchestra 4 Today's musicians 6 Programme notes 9 Next concerts 10 Supporters 12 LPO administration

Welcome

Welcome to the Devonshire Park Theatre, Eastbourne 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 welcome the London Philharmonic Orchestra back to our atmospheric Victorian playhouse, the Devonshire Park Theatre, for a new season of afternoon chamber concerts. The historic surroundings and delightful acoustics provide a wonderful backdrop for these much-loved concerts. We’ve worked closely with the Orchestra and its specialists to ensure the 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.

Orchestra news

hank you for joining us here at the Devonshire Park Theatre for the first concert in the London Philharmonic Orchestra's 2017/18 Eastbourne season. We hope you enjoy this afternoon’s performance and look forward to welcoming you again when we return for three further concerts at the Devonshire Park Theatre in the New Year: see page 9 for details. Find out more about all our performances at lpo.org.uk

LPO Japan tour The Orchestra recently returned from a whirlwind nine-day tour of Japan with our Principal Conductor Vladimir Jurowski and the extraordinary piano virtuoso Nobuyuki Tsujii. In our first visit to the country for 15 years we gave eight concerts in Fukuoka, Osaka, Nagoya, Niigata, Tokyo, Hamamatsu and Kawasaki, before returning to London on 15 October. The Japan tour was generously supported by JTI. A second major Far East tour follows on 27 December, when the Orchestra will travel to China to perform in Guangzhou, Shenzhen, Shanghai and Beijing over the New Year period. In between we’ll squeeze in a European tour in mid-November with conductor Alain Altinoglu and violinist Patricia Kopatchinskaja, taking in Antwerp, Vienna, Freiburg, Friedrichshafen, Stuttgart and Munich, and make a festive trip to Paris to perform Bach’s Christmas Oratorio at the Théâtre des ChampsElysées.

Two new CD box sets on the LPO Label This season we celebrate Vladimir Jurowski’s 10th anniversary as the LPO's Principal Conductor, and we recently released two major box sets to mark this milestone. Our September 2017 release was a seven-disc set of Tchaikovsky’s complete symphonies conducted by Jurowski. The set includes previously unreleased recordings of Nos. 2 and 3, plus Francesca da Rimini and the Serenade for Strings (LPO-0101). October 2017 saw the release of another seven-disc box set: a special collection of previously unreleased recordings by Jurowski and the LPO, comprising both familiar and rare repertoire spanning the symphonic, choral and contemporary genres (LPO-1010). For more information visit lpo.org.uk/recordings or call the LPO Ticket Office on 020 7840 4242.

2 | London Philharmonic Orchestra

London Philharmonic Orchestra

To hear the perfection of an orchestra in total command of its forces was a rare treat. The Argus, April 2016

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 concert performances, the Orchestra also records film soundtracks, releases CDs on its own record label, and enhances the lives of thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2017 Vladimir Jurowski celebrates his tenth anniversary as the Orchestra’s Principal Conductor. 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 continues to the end of 2017. 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. The London Philharmonic Orchestra enjoys flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. Highlights of the 2017/18 season include visits to Japan, China, Romania, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France. The London Philharmonic Orchestra has recorded many blockbuster film scores, 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. 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, and 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. 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 a YouTube channel and regular 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

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Today's musicians

Kevin Lin (violin) joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, he has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Houston Symphony and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster and Principal Second Violin at The Colburn School and The Curtis Institute of Music. Tania Mazzetti (violin) is the London Philharmonic Orchestra’s Co-Principal Second Violin. She was born in Italy and in 2000 graduated from the Conservatory of Music Guido Cantelli in Novara. Tania began her orchestral career with the Orchestra Symphonica Toscanini under Lorin Maazel. She has also played in the Orchestra del Teatro alla Scala, the Filarmonica della Scala, the Orchestra del Teatro La Fenice di Venezia, the Mahler Chamber Orchestra and the Orchestra dell’Accademia Nazionale di Santa Cecilia. Since 2014 she has led the Orchestra del Teatro Lirico di Cagliari in Sardinia. David Quiggle (viola) joined the London Philharmonic Orchestra as Principal Viola in August 2017. Born in the USA, he has been a leading violist, chamber musician and teacher for more than 20 years. As a member of the Casals Quartet he toured Europe and South America, and won prizes in the London, Hamburg and Paolo Borciani string quartet competitions. Solo performances include the Bartók Viola Concerto with the Simón Bolívar Youth Orchestra of Venezuela; Hindemith's Der Schwanendreher with the Medellín Philharmonic; and Mozart's Sinfonia Concertante in Madrid and Valladolid. David has been a frequent guest principal with groups such as the Mahler Chamber Orchestra, the Malaysian Philharmonic and the Chamber Orchestra of Europe. 4 | London Philharmonic Orchestra

Robert Duncan (viola) was born in London and studied at the Royal College of Music. After a period of freelancing in London he joined the London Philharmonic Orchestra in 1977, becoming Sub-Principal Viola in 1995. Apart from his long career in the LPO he has played in many chamber music groups including the Park Lane Sextet, which delved into the lesser-heard pieces of the repertoire giving many first performances, BBC broadcasts and concerts. Kristina Blaumane (cello) was born in Riga and graduated from the Latvian Academy of Music and the Guildhall School of Music & Drama. She has performed as soloist with the London Philharmonic Orchestra (of which she is Principal Cello), Amsterdam Sinfonietta, Kremerata Baltica, Britten Sinfonia and Lithuanian Chamber Orchestra, as well as all the main orchestras in Latvia. As a chamber musician Kristina has worked with such renowned artists as Isaac Stern, Gidon Kremer, Yo-Yo Ma, Yuri Bashmet, Leif Ove Andsnes and Janine Jansen, and has performed at festivals such as Lockenhaus, Gstaad, Salzburg, Verbier, Basel, Jerusalem, Utrecht, Spitalfields, Cheltenham and Aldeburgh. Chair supported by Stuart and Bianca Roden Pei-Jee Ng (cello) joined the London Philharmonic Orchestra as Co-Principal Cello in 2015. Originally from Australia, he was the 2001 Symphony Australia Young Performer of the Year and won the 2008 Young Concert Artists Trust auditions in London. In addition to the six major Australian symphony orchestras, he has performed concertos with the Hong Kong Philharmonic, Malaysian Philharmonic, Singapore Symphony, Oulu Symphony, Sinfonia ViVA and Estonian National Symphony, and made his debut with the Philharmonia Orchestra at the 2011 Chichester Festivities, performing the Elgar Concerto.

Kevin Rundell (double bass) began his studies with his grandfather, Jack Silvester, and continued with Adrian Beers at the Royal College of Music. He joined the Orchestra of the Royal Opera House at the age of 19 and studied with the virtuoso Thomas Martin. Kevin was appointed Professor at the Guildhall School in 1975 at the age of 22, a position he still holds. In 1980 he joined English National Opera as Principal, where he remained for ten years. He joined the London Symphony Orchestra as Principal Double Bass in 1990 and subsequently the London Philharmonic Orchestra in 1991.

Mark Vines (horn) studied at the University of Manchester and the Royal Northern College of Music. After touring extensively with the European Union Youth Orchestra, in 1998 Mark was appointed Principal Horn of the Hong Kong Philharmonic Orchestra. He remained in this position for 13 years, performing several times as a soloist with the orchestra, before moving back to the UK in 2011 to join the London Philharmonic Orchestra as Co-Principal Horn. In addition to the busy LPO schedule, Mark regularly plays guest principal horn with many of the other major UK symphony orchestras. Chair supported by Laurence Watt

Thomas Watmough (clarinet) studied the clarinet at The Purcell School and the Guildhall School of Music & Drama. After several years as a freelancer working with many of the British orchestras (particularly with the LPO), he spent nine years as a member of the Royal Philharmonic Orchestra before finally joining the LPO in September 2014 as Principal E-flat Clarinet. He recorded many of the principal clarinet cornerstones of the orchestral repertoire while with the RPO, and Schubert’s Shepherd on the Rock for EMI.

Jonathan Davies (bassoon) joined the London Philharmonic Orchestra in 2016 as Principal Bassoon, having previously held the same position with the Royal Philharmonic Orchestra. Solo engagements have included Haydn’s Sinfonia Concertante alongside Maxim Vengerov; Elliot Carter’s Retracing for solo bassoon in the Purcell Room; and a world premiere by David Fennessy with the London Sinfonietta. Jonathan studied at the Royal Academy of Music under the tuition of John Orford, Amy Harman and David Chatterton, graduating with the HRH Princess Alice The Duchess of Gloucester’s Prize for Exemplary Studentship.

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Molly & David Borthwick David & Yi Buckley The Candide Trust Andrew Davenport William & Alex de Winton Sonja Drexler Drs Oliver & Asha Foster Friends of the Orchestra Dr Barry Grimaldi Geoff & Meg Mann Sir Simon Robey Victoria Robey OBE Caroline, Jamie & Zander Sharp Neil Westreich To find out more about supporting a player’s chair in the Orchestra, please contact Rosie Morden on 020 7840 4212 or rosie.morden@lpo.org.uk Meet our members: lpo.org.uk/players

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Programme notes

Speedread The two chamber works that form this afternoon’s programme were created during particularly fecund periods in their composers’ lives. Dvořák wrote his String Sextet in 1878, shortly after coming into contact with Brahms, when the Czech composer gained a publishing contract that would guarantee him ready income and international renown. Part of Dvořák’s success was no doubt due to the Bohemian colour that runs through much of his music, not least that of this soulful-cum-sprightly Sextet.

Antonín Dvořák

Although Schubert had been seriously ill shortly before composing his Octet in early 1824, the first few months of the year were characterised by feverish productivity. The musical bounties of the time are certainly evident in the rich, Lied-like melodies and joyful dances of this Octet, especially its fourth movement, which, like the Finale to Dvořák’s Sextet, is cast as a series of variations. And then, after a somewhat ominous note is sounded at the beginning of the Finale, Schubert concludes on an unquestionably happy note.

String Sextet in A major, Op. 48 (1878) Kevin Lin | Tania Mazzetti violins David Quiggle | Robert Duncan violas Kristina Blaumane | Pei-Jee Ng cellos

1841–1904

1 2 3 4

Allegro moderato Dumka (Elegie): Poco allegretto Furiant: Presto – Trio Finale (Tema con variazioni): Allegretto grazioso, quasi andantino

It was in the late 1870s that Dvořák, to date a somewhat unknown entity, became an international celebrity. Although well regarded at home in Prague – Smetana had recently conducted Dvořák’s Third Symphony in the city – he was yet to conquer the rest of Europe. His successful application for the Austrian State Stipend for Artists in the summer of 1877 changed all that, not only guaranteeing the somewhat cash-poor composer much needed funds but also bringing his music to the attention of esteemed critics in Vienna and, most importantly, to Brahms. The two composers formed a firm friendship and Brahms quickly introduced his new Czech colleague to the Berlin-based publisher Fritz Simrock.

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Brahms had been particularly impressed by Dvořák’s recently completed Moravian Duets. ‘Dvořák has written all manner of things: operas (Czech), symphonies, quartets, piano pieces’, he wrote to Simrock. ‘He is a very talented man. Moreover, he is poor! I ask you to think about it! The Duets will show you what I mean and could be a “good article”.’ Indeed, those folk poetry settings for two voices and piano accompaniment were to be a very profitable addition to Simrock’s catalogue and he immediately commissioned a set of Slavonic Dances from Dvořák, which again became runaway hits. The String Sextet also dates from this happy, fruitful time. It is, perhaps, no coincidence that Dvořák chose to write in this form, given Brahms’s success with his First String Sextet in 1859–60 and the Second String Sextet of 1864–65. And yet Dvořák moves confidently away from those models, showing the genre in a noticeably Slavic light, not least in the inner movements. These take the form of an elegiac Dumka, inspired by the

melancholy poetry of the Slavic epics, and a Furiant, based on a stormy, syncopated Bohemian dance. Written within just two weeks in May 1878, the Sextet was published the following year by Simrock. And after a private premiere in July 1879, the first public performance was given in Berlin on 9 November by Joseph Joachim’s quartet (plus guests), just as with the first of Brahms’s two celebrated sextets. The opening Allegro moderato is characterised by a warm melody, albeit one that is constantly tinged with minor-key melancholy. As in many of Brahms’s works from the period, Dvořák’s principal material then undergoes a tertiary modulation, sounding in the richer, lower key of F sharp major. The music is then stirred into more animated life by an insistent dotted rhythm, which gives way to sprightly counterpoint, all the time punctuated by reminiscences of the first subject. Such nimble tones are followed by something more combative during the development, before the recapitulation concludes in a defiant mood. The poetic roots of the Dumka form are made manifest in the discursive melody Dvořák created for his second

movement. The tune is initially given to the second violin and then passed to the first violin as it modulates to a sweeter major key. There follows a somewhat hesitant march, with various folksy inflections, and an expressive Andante, before the return of the original theme. The ensuing Furiant brings with it helterskeltering joy and flashy exchanges of melodic ideas. A slower, less hectic Trio features reduced, quartet-like textures, though it becomes more outspoken when preparing for the reprise of the stamping Furiant. It is a quartet again – two violas (Dvořák’s own instrument) and two cellos – that declaims the theme for the Finale’s series of variations. The first of these unfolds gently, with the melody in the middle of the texture, while the second is a skittering scherzando. The first cello then leads the third variation, in which the other instruments offer a series of eerily static chords. The fourth and fifth variations, while continuing at the same tempo, see a gradual intensification of mood, before the music’s nascent energy brims to the surface in the final variation. Gradually, Dvořák moves beyond the minor-key colouring of the theme and closes the work with a burst of A major glee.

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

Franz Schubert 1797–1828

1 Adagio – Allegro 2 Adagio 3 Allegro vivace – Trio 4 Andante 5 Menuetto: Allegretto – Trio 6 Andante molto – Allegro

Octet in F major, D803 (1824) Thomas Watmough clarinet Jonathan Davies bassoon Mark Vines horn Kevin Lin | Tania Mazzetti violins David Quiggle viola Kristina Blaumane cello Kevin Rundell double bass

Although he had been ill for over a year and was even hospitalised during 1823, Schubert’s energy for work was undimmed. Having completed the incidental music for Rosamunde, Fürstin von Zypern and his opera Fierrabras that October, he then finished Die schöne Müllerin in November. 1824 began in similarly unflagging style: the Introduction and London Philharmonic Orchestra | 7

Programme notes continued

Variations for flute and piano on ‘Trockne Blumen’ (from Die schöne Müllerin) were written in January; the Octet that forms the second part of today’s concert and the A minor ‘Rosamunde’ String Quartet were completed in February; and the D minor String Quartet (‘Der Tod und das Mädchen’), as well as many songs, followed in March. ‘What I produce is due to my understanding of music and to my sorrows’, Schubert wrote in his notebook, ‘that which sorrow alone has produced seems to give least pleasure to the world’. Of course, Schubert’s last statement was to be proved wrong, for many of these works, even the most sorrowful, are now regarded as among his greatest. At the time, however, he struggled to find keen advocates and it was only in early 1827 that the Octet was finally heard in public. Like much of the music from early 1824, the Octet draws readily on melodic material from Schubert’s songs and other pieces. The inspiration for the work’s structure, however, came from Beethoven. Indeed, the Octet was commissioned by Beethoven’s patron Archduke Rudolph’s chief steward, Count Ferdinand Troyer, who asked Schubert for a new piece modelled on Beethoven’s Septet, Op. 20. While Schubert added a second violin to Beethoven’s original lineup, he nonetheless followed the serenade-like form of that 1799 composition, providing further parallels by means of a slow introduction to the first movement, a liquid Adagio, a Scherzo – as well as a Menuetto – and a set of variations. And like the earlier Septet, Schubert’s Octet is conceived on an almost symphonic scale. After a strident tutti, the introduction to the first movement turns rather reticent. This tentative dialogue is then expelled by a feisty Allegro, albeit with clear motivic links to those opening bars. The clarinet (commissioner Count Troyer’s instrument) leads the first subject of this sonata-form structure, before the horn takes over for the second subject, couched in the relative minor. The development is altogether more fragmentary, as the two themes pass between the various instruments.

Schubert uses a sextet texture at the opening of the Lied-like Adagio, the most obvious vehicle for Troyer. As in the introduction to the first movement, the theme is often undercut by much darker harmonies. It then passes via the bassoon to the horn, before all the forces join together for another iteration of this fruitful material. The third movement is the first of the Octet’s two dances. Its opening section is rhythmically quirky, while the second features much denser harmonies. The string-led Trio, on the other hand, is much less vigorous, offering a premonition of the oddly exhausted trios that came to feature in Schubert’s later works. Pre-existing material, specifically a duet from Schubert’s abortive 1815 singspiel Die Freunde von Salamanka, provides the theme for the fourth movement. The Octet’s instrumentation alone would lend the succeeding variations great variety, though Schubert’s extrapolation and adaptation of the theme’s constituent motifs proves dazzling in its own right. Mirroring his third movement (the Allegro vivace), the composer then provides another ternary structure for the fifth, albeit swapping round the constituent characters of its precursor: the Menuetto, like the previous Trio, stumbles along; while the fifth movement’s second part, a Ländler, is warm and freeflowing. An ominous note sounds at the opening of the Finale, which, like the theme from the first movement of the contemporaneous A minor String Quartet, takes its lead from Schubert’s song ‘Die Götter Griechenlands’. Indeed, Friedrich Schiller’s poem may provide a programme, beginning, ‘Fair world, where are you? Return again, sweet springtime of nature!’. Here, however, the music’s questioning mood is only shortlived and a cheerier spirit intervenes. After a discursive development, during which the principal theme undergoes contrapuntal treatment, followed by a return of the threatening music from the introduction, the Octet closes on a positive note. Spring has indeed returned. Programme notes © Gavin Plumley

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be m ov e d in eastbourne

Next LPO concerts at Devonshire Park Theatre with soloists of the London Philharmonic Orchestra

Sunday 21 January 2018 3.00pm

Sunday 4 march 2018 3.00pm

Sunday 8 april 2018 3.00pm

Corelli Concerto Grosso No. 1 in D major Elgar Serenade for Strings Grieg Holberg Suite Tchaikovsky Serenade for Strings

Borodin String Quartet No. 2 Schubert String Quintet in C major

Vivaldi Chamber Concerto in G minor, RV 103 Rossini Quartet No. 1 for flute, clarinet, bassoon and horn Mozart Serenade in E flat, K375 Barber Summer Music Janáček Mládí

Book now at eastbournetheatres.co.uk or call 01323 412000 Season discounts of up to 15% available 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 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

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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.

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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