London Philharmonic Orchestra 11 Nov 2018 Eastbourne concert programme by London Philharmonic Orchestra

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2018/19 Concert Season

AT eastbourne congress theatre & 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 11 November 2018 | 3.00pm

Dvořák Serenade for Winds in D minor, Op. 44 (25’) Interval (20’) Mozart Serenade No. 10 for 13 Winds in B flat (Gran Partita) (52’)

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 On stage today 4 About the Orchestra 6 Programme notes 8 Recent CD releases 9 Next concerts 10 Supporters 12 LPO administration

Welcome

Orchestra news

Welcome to the Devonshire Park Theatre, Eastbourne

Christmas gifts from the LPO

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.

Searching for the perfect Christmas present for the music lover in your life? Look no further. With more than 100 CD releases on the LPO label, tickets for concerts in London, Eastbourne or Brighton, gift vouchers and memberships, there’s something for everyone. Share the joy of music and make it a Christmas to remember. Visit lpo.org.uk/gifts to explore the full collection, or call the LPO Ticket Office on 020 7840 4242.

On location with Belmond We are excited to welcome the London Philharmonic Orchestra back to our atmospheric Victorian playhouse, the Devonshire Park Theatre, for this 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.

Continuing our ongoing partnership with luxury travel collection Belmond, LPO musicians have been invited to perform at some of Belmond’s most iconic destinations during 2018/19. The series began in Sicily in September, when an LPO brass ensemble gave two intimate recitals bringing together the best of British and Italian music. Later in September, an LPO sextet travelled to Belmond Hotel das Cataratas beside the Iguaçu Falls in Brazil, where they performed music by the country's most celebrated composer, Heitor Villa-Lobos.

We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email theatres@lewes-eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, The Point, College Road, Eastbourne, East Sussex, BN21 4JJ.

The next instalment of the series will be in April 2019, under the starry skies of the Okavango Delta in Botswana, where unspoilt wilderness and game surrounds Belmond Eagle Island Lodge. LPO musicians will celebrate the breathtaking surroundings with a wind quintet arrangement of Saint-Saëns’s much-loved Carnival of the Animals. For more information visit belmond.com/lpo

The Nutracker at the Royal Albert Hall The London Philharmonic Orchestra has long been renowned for its prowess in the opera pit at Glyndebourne, but this Christmas we’ll be branching out into ballet. The Orchestra has been invited to accompany Tchaikovsky’s festive favourite The Nutcracker with Birmingham Royal Ballet at the Royal Albert Hall from 28–31 December. For more information and booking visit royalalberthall.com or call the Royal Albert Hall Box Office on 020 7589 8212.

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On stage today

Oboes Ian Hardwick* Principal Alice Munday Chair supported by Friends of the Orchestra

Clarinets Ishay Lantner Guest Principal Emma Burgess Basset Horns Paul Richards* Alan Andrews Bassoons Jonathan Davies Principal Gareth Newman Contrabassoon Simon Estell* Principal Horns Mark Vines Principal Martin Hobbs Alex Wide Gareth Mollison Cello Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Double Bass Sebastian Pennar Principal * Holds a professorial appointment in London

Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: David & Yi Buckley Andrew Davenport William & Alex de Winton Sonja Drexler Roger Greenwood Dr Barry Grimaldi Countess Dominique Loredan Geoff & Meg Mann Sir Simon Robey Victoria Robey OBE Caroline, Jamie & Zander Sharp Eric Tomsett Laurence Watt Neil Westreich

Date for your diary: A Christmas celebration with the LPO Sunday 2 December 2018 | 3.00pm Devonshire Park Theatre, Eastbourne Gabrieli O Magnum Mysterium Byrd O Magnum Mysterium Praetorius In dulci jubilo Cornelius The Three Kings Scheidt Battle Suite Schütz Also hatt Gott die Welt geliebt Schütz Hodie Christus Natus Est Mathias Sir Christemas Trad arr. Wood Ding Dong! Merrily on High Niles arr. Harvey I Wonder as I Wander Trad arr. Carter Lord of the Dance Iveson A selection from Christmas Crackers Trad. arr Rutter Shepherd’s Pipe Carol Lauridsen O Magnum Mysterium Trad arr. Rutter The Twelve Days of Christmas Neville Creed conductor Soloists of the London Philharmonic Orchestra London Philharmonic Choir Box Office: 01323 412000 eastbournetheatres.co.uk

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London Philharmonic Orchestra

The London Philharmonic’s closing concert took excellence and courageous programme planning to levels of expectation and emotional intensity more than once defying belief. Here was an orchestra in terrific form, rising to every challenge. Classicalsource.com (LPO at Royal Festival Hall, 2 May 2018: Panufnik, Penderecki & Prokofiev)

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has 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 the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout the remainder of

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2018 we continue our series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. In 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and British-inspired music from Purcell to the present day. 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: highlights of the 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.

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 100 releases available on CD and to download. Recent additions include a Poulenc disc conducted by Yannick Nézet-Séguin, Tchaikovsky’s Symphonies Nos. 2 & 3 under Vladimir Jurowski, and a film music disc under Dirk Brossé. 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. In 2017/18 we celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO Young Composers programme; the Foyle Future Firsts orchestral training programme; and the LPO Junior Artists scheme for talented young musicians from communities and backgrounds currently underrepresented in professional UK orchestras. The Orchestra’s work at the forefront of digital engagement and social media has enabled it to reach even more people worldwide: 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

Save the date...

Wagner: Die Walküre Sunday 27 January 2019 | 4.00pm Royal Festival Hall Following the success of Das Rheingold in January 2018, Vladimir Jurowski presents the second instalment of our Wagner Ring Cycle. Tickets £15–60 (premium seats £80) Book via lpo.org.uk or or call 020 7840 4242 Transaction fee £1.75 online/£2.75 phone

VIP reception packages also available: visit lpo.org.uk/walkure Vladimir Jurowski conductor Stuart Skelton Siegmund Evgeny Nikitin Wotan* Ruxandra Donose Sieglinde* Stephen Milling Hunding Claudia Mahnke Fricka Svetlana Sozdateleva Brünnhilde Ursula Hesse von den Steinen Waltraute Sinéad Campbell-Wallace Helmwige Alwyn Mellor Gerhilde Gabriela Iştoc Ortlinde Hanna Hipp Rossweisse Angela Simkin Siegrune Rachael Lloyd Grimgerde Susan Platts Schwertleite London Philharmonic Orchestra * Please note a change of artist from previously advertised. Generously supported by members of the Orchestra’s Ring Cycle Syndicate

twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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Programme notes

Speedread Music for wind ensembles became hugely popular in the 18th century thanks to aristocrats who enjoyed being entertained while outdoors (string instruments carry badly in open air). An unobtrusive, lighthearted genre known as the Serenade emerged, but composers soon became interested in the nuances of the sounds wind ensembles produced. The ensembles offered new colouristic and technical possibilities, and had the potential to change not just chamber music but orchestral scoring in the process.

Antonín Dvořák 1841–1904

Success didn’t come easily or quickly to Antonín Dvořák. It was only when championed by fellow composer Johannes Brahms and the influential critic Eduard Hanslick that he started to achieve recognition beyond his homeland (what is now the Czech Republic). As soon as that recognition started to arrive, Brahms and Hanslick tried to persuade Dvořák to leave Prague and settle in Vienna. But Dvořák stood firm. He worried that outside his native country, which remained such an important source of inspiration to him, the creative juices wouldn’t flow. Dvořák made the right decision. By the mid 1870s, Europe and America were getting wind of his talents and the composer started to enjoy one of the happiest and most productive periods of his life. A particular landmark came in 1877 when the first eight of his Slavonic Dances for orchestra were played in one of Europe’s major musical hubs, Berlin. The performances went down a treat. One German critic in particular, 6 | London Philharmonic Orchestra

Unsurprisingly, Serenades soon became more than musical wallpaper. In Mozart’s 'Gran Partita' the composer recognised the colouristic qualities of the wind ensembles that were so fashionable and, typically, exploited them to create something unprecedented that was also greater than the sum of its parts. But the Serenade as a genre always retained an air of pleasure, joy and gratitude for life’s pleasures, which made it the perfect piece with which Dvořák could give thanks and express delight at the recognition he had waited so long to achieve.

Serenade for Winds in D minor, Op. 44 1 Moderato, quasi Marcia 2 Minuetto 3 Andante con moto 4 Finale: Allegro molto

Louis Ehlert, lavished praise on Dvořák’s ability to produce striking material, sculpt it fluently and marshal the orchestra with panache. In January of the following year Dvořák decided to thank Ehlert, writing this Serenade for Winds with a dedication to the critic. Both the work’s title and its scoring tapped into a particular tradition for wind serenades dating back to Mozart’s time which encapsulated lighthearted enjoyment – the perfect gift. It was no accident that such a piece should have flowed from Dvořák’s pen at such a promising, joyous time. As a child Dvořák played in his village band, an experience that might be recalled in the march-like opening movement of the Serenade. But there was a more serious message to this music too: it reinforced the composer’s allegiance to the traditions of his home country, a particularly pertinent point considering the work’s dedication to a German critic.

That point is made even more obviously in the following Minuetto, where Dvořák employs a Czech folk dance. The Sousedská was a slow dance associated with elderly village neighbours. Here, in a reference to the Classical dance pattern of Minuet and Trio that the likes of Mozart used so often, it alternates with a faster folk dance, the Furiant (known for its rhythmic syncopations and violent contrasts). Dvořák’s specialist skills are fully exploited in the Andante third movement, where melodies meander

seamlessly from one instrumental group to another; the main theme induces a gorgeous little duet between the clarinet and oboe above variously configured but always enchanting accompaniments. To finish comes a lively Czech polka with a slow tranquillo section. It reminds us not only of the music of the opening march (by explicitly quoting it), but takes its leave in the same martial spirit with braying horn fanfares. Even in his celebration of success in Germany and all that it meant, Dvořák was every bit Czech and he knew it.

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

Wolfgang Amadeus Mozart

Serenade No. 10 for 13 Winds in B flat (Gran Partita)

1756–91

1 Largo – Allegro molto 2 Menuetto 3 Adagio 4 Menuetto: Allegretto 5 Romanze: Adagio – Allegretto – Adagio 6 Tema con varizioni 7 Rondo: Allegro molto Dvořák probably wouldn’t have written his Serenade were it not for a certain tradition that took root in Mozart’s day almost a century earlier. Small wind bands became popular among aristocrats in the mid 1700s because wind instruments carried well outdoors, enabling them to accompany al fresco ceremonies and celebrations. In the 1780s those ensembles started to migrate indoors and wind ensembles began to expand, both literally and artistically. Mozart was involved in writing music for wind ensembles at each of those stages of development.

He wrote a number of Serenades for the standard wind configuration popular in the late 1700s known as Harmoniemusik, the sort most often used for outdoor entertainment. But one of his more extraordinary works, written for that same purpose, stands head and shoulders above the others in both scale and effect. An unknown hand ascribed it the title 'Gran Partita' (‘grand score’). More than any other composer, Mozart managed to write so-called ‘background music’ that vastly surpasses the implications of that label while never sounding

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Programme notes continued

anything less than utterly beautiful. The Gran Partita is a supreme example of that. The exact origins of the piece are unknown. We do know that it was played in March 1784, because at least one journalist was there. He described it as ‘glorious and grand, excellent and sublime.’ What’s not so certain is exactly when Mozart committed the notes to paper, and whether, as some have speculated, it was performed at the composer’s wedding breakfast in August 1782. Paper experts have dated Mozart’s manuscript at around 1781–2. One thing we can be sure of is the involvement of Anton Stadler, the clarinettist who fanned the flames of Mozart’s love for the instrument, in the creation of the Gran Partita. Stadler, a member of Austria’s Imperial Wind Band, was also present at that March 1784 performance (the concert was organised in his honour). Joining him on stage were a double bassist, two oboists, two basset horn players, two bassoonists, four horn players and another clarinettist.

That lineup alone helps explain the journalist’s reaction to the piece. But in addition to his heavily augmented ensemble, Mozart made room for seven whole movements, none of which could be considered miniature. Stadler’s clarinet soon becomes prominent in the first movement, which leads to the first of two minuets in which gruff fortes are answered by plaintive pianos. A ravishing Adagio follows, before a Menuetto with two lilting triple-time Trio sections. Next come Mozart’s two ‘extra’ movements: a Romanze and a 'theme and variations' fashioned from recycled parts of a C major flute quartet written in 1778. A cheerful Rondo wraps the piece up, quashing all memory of those moments of poignancy that preceded it. Throughout it all, there’s not a hint of density or routine. The Gran Partita is a masterclass in how to write ensemble music for members of one instrumental family. But it is much more besides. Programme notes © Andrew Mellor

£10.99 | LPO-0110

£9.99 | LPO-0109

£9.99 | LPO-0108

Recent releases on the LPO Label

poulenc

tchaikovsky

the genius of film music

Piano Concerto Organ Concerto | Stabat Mater

Symphonies Nos. 2 & 3

Hollywood Blockbusters 1980s–2000s

Vladimir Jurowski conductor

Yannick Nézet-Séguin conductor Alexandre Tharaud piano James O’Donnell organ Kate Royal soprano London Philharmonic Choir CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Apple Music, Amazon, Spotify and others.

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Dirk Brossé conductor Includes music from Star Wars, La Vita è bella, Gladiator, The Mission & Indiana Jones

next concerts

in our 2018/19 eastbourne season

devonshire park theatre sunday 2 december 2018 3.00pm

sunday 10 february 2019 3.00pm

A celebration of Christmas with soloists of the London Philharmonic Orchestra and the London Philharmonic Choir

Mozart Oboe Quartet Beethoven String Quartet Op. 18/1 Brahms Clarinet Quintet

Neville Creed conductor

Soloists of the London Philharmonic Orchestra

See page 3 for full programme.

congress theatre sunday 24 march 2019 3.00pm

sunday 7 april 2019 3.00pm

Glinka Overture, Ruslan and Ludmilla Elgar Cello Concerto Tchaikovsky Symphony No. 5

Bax Tintagel Grieg Piano Concerto Sibelius Belshazzar’s Feast Suite, Op. 51 Sibelius Symphony No. 5

Darrell Ang conductor Kian Soltani cello London Philharmonic Orchestra

Osmo Vänskä conductor Jan Lisiecki piano London Philharmonic Orchestra

Book now at eastbournetheatres.co.uk or call 01323 412000 Season discounts of up to 25% available

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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 Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich The Tsukanov Family Dr James Huang Zheng (of Kingdom Music Education Group) Principal Associates Gabor Beyer, through BTO Management Consulting AG In memory of Ann Marguerite Collins Mr & Mrs Makharinsky Associates Steven M. Berzin Kay Bryan William & Alex de Winton George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons David & Yi Buckley John Burgess Richard Buxton In memory of Allner Mavis Channing Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Hamish & Sophie Forsyth Virginia Gabbertas Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Rehmet Kassim-Lakha de Morixe Countess Dominique Loredan Geoff & Meg Mann

Sally Groves & Dennis Marks Robert Markwick & Kasia Robinski Melanie Ryan Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt Silver Patrons Dr Christopher Aldren Peter Blanc Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Will & Kate Hobhouse Matt Isaacs & Penny Jerram John & Angela Kessler The Metherell Family Simon Millward Mikhail Noskov & Vasilina Bindley Susan Wallendahl Guy & Utti Whittaker

Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Jacopo Pessina Mr Roger Phillimore Mr Michael Posen Tatiana Pyatigorskaya Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr Christopher Stewart Mr & Mrs John C Tucker Andrew & Rosemary Tusa Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Christopher Williams Ed & Catherine Williams Mr Anthony Yolland

Bronze Patrons Anonymous donors Michael Allen Andrew Barclay Mr Geoffrey Bateman Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel Mr John L G Deacon David Ellen Ignor & Lyuba Galkin Mrs Irina Gofman David Goldberg Mr Daniel Goldstein David & Jane Gosman Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Catherine Hogel & Ben Mardle J Douglas Home Mr James R. D. Korner Rose & Dudley Leigh

Principal Supporters Ralph & Elizabeth Aldwinckle Margot Astrachan Mr Philip Bathard-Smith Mr Edwin Bisset Dr Anthony Buckland Mr & Mrs Stewart Cohen Sir Alan Collins KCVO David & Liz Conway Mr Alistair Corbett Mrs Alina Davey Guy Davies Henry Davis MBE Mr Richard Fernyhough Patrice & Federica Feron Ms Kerry Gardner Malcolm Herring Ivan Hurry Per Jonsson Mr Ralph Kanza Ms Katerina Kashenceva Vadim & Natalia Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Christopher Little

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Paul & Brigitta Lock Mr Peter Mace Mr John Meloy Andrew T Mills Dr Karen Morton Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Natalie Pray Mr Christopher Querée Martin & Cheryl Southgate Ms Nadia Stasyuk Matthew Stephenson & Roman Aristarkhov Louise Walton Howard & Sheelagh Watson Des & Maggie Whitelock Liz Winter Bill Yoe Supporters Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Christopher Fraser OBE Will Gold Mr Peter Gray Mrs Maureen HooftGraafland The Jackman Family Mr David MacFarlane Mr Frederic Marguerre Mr Mark Mishon Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw

Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson Mr John Weekes Joanna Williams 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 LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (China/Hong Kong) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen)

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: Simon Freakley Chairman Xenia Hanusiak Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners IMG Pictet Bank Steppes Travel White & Case LLP

Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation 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 Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust 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 The Radcliffe Trust Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation 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 Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa 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 Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill 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 Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Manager