London Philharmonic Orchestra 21 Jan 2018 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 21 January 2018 | 3.00pm

Corelli Concerto Grosso in D major, Op. 6 No. 1 (12’) Elgar Serenade for Strings in E minor, Op. 20 (12’) Grieg Holberg Suite, Op. 40 (21’) Interval (20’) Tchaikovsky Serenade for Strings in C major, Op. 48 (29’)

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 5 Leader: Pieter Schoeman 6 Programme notes 9 Next concerts 10 Supporters 12 LPO administration

Welcome

Orchestra news

Welcome to the Devonshire Park Theatre, Eastbourne

LPO Annual Appeal 2017/18

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 another 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, The Point, College Road, Eastbourne, East Sussex, BN21 4JJ.

This season we are proud to celebrate the 30th anniversary of the Orchestra’s Education & Community department. For three decades we have taken ourselves from the concert platform and out into the world around us, driven by the desire to share the power and wonder of orchestral music with everyone. We are asking you to help us celebrate this 30th year by giving to our 2017/18 Annual Appeal. Visit lpo.org.uk/appeal to find out how your gift can help, from planting the seed in those who have never heard orchestral music to reawakening others to joys they may have forgotten.

Glyndebourne 2018 As Resident Symphony Orchestra at Glyndebourne Festival Opera since 1964, we always look forward to our summer months spent in the Sussex opera house, and the 2018 Festival promises to be a vocal and visual feast. Booking opens on Sunday 4 March and we launch the season on 19 May with Puccini’s glorious Madama Butterfly conducted by Omer Meir Wellber (running until 18 July). Over the summer we’ll also perform Strauss’s Der Rosenkavalier (20 May–26 June) and Debussy’s Pelléas et Mélisande under Glyndebourne Music Director Robin Ticciati (30 June–9 August); and Barber’s rarely performed, Pulitzer Prize-winning opera Vanessa under Jakub Hrůša (5–26 August). For more details visit glyndebourne.com

LPO Label: recent box sets In autumn 2017 we released two CD box sets on the LPO Label in celebration of Vladimir Jurowski’s first 10 years with the Orchestra. We’re delighted that the first, a seven-disc set of Tchaikovsky’s complete symphonies with the LPO under Jurowski (LPO-0101), was shortlisted for a 2018 International Classical Music Award. Our October release also received plenty of press attention: this seven-disc collection of previously unreleased Jurowski recordings (LPO-1010) received a glowing five-star review from Richard Fairman of the Financial Times, who hailed the set as ‘an impressive statement’. Priced £34.99 and £49.99 respectively, these box sets, along with the other 100+ recordings on the LPO Label, are available to buy from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets.

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On stage today

Pieter Schoeman director/violin

Director/Violin Pieter Schoeman*

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002.

First Violins Pieter Schoeman* Leader Kevin Lin Co-Leader Vesselin Gellev Sub-Leader Katalin Varnagy Chair supported by Sonja Drexler

Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Second Violins Jeongmin Kim Principal Joseph Maher Ashley Stevens Helena Nicholls Robin Wilson Violas David Quiggle Principal Robert Duncan Benedetto Pollani Katharine Leek Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Double Bass Hugh Kluger Principal

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: David & Yi Buckley The Candide Trust Andrew Davenport William & Alex de Winton Friends of the Orchestra Dr Barry Grimaldi Geoff & Meg Mann Sir Simon Robey Victoria Robey OBE Laurence Watt

Chair supported by Neil Westreich

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

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London Philharmonic Orchestra

The LPO musicians really surpassed themselves in playing of élan, subtlety and virtuosity. Matthew Rye, Bachtrack, 24 September 2017 (Enescu’s Oedipe at Royal Festival Hall) Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. Celebrating its 85th anniversary this season, the Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and this season we celebrate the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Our year-long Belief and Beyond Belief festival in partnership with Southbank Centre ran

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throughout 2017, exploring what it means to be human in the 21st century. In 2018 we explore the life and music of Stravinsky in our new series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: the 2016/17 season included visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland, and tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download. Recent additions include Beethoven’s Symphonies Nos. 1 and 4 conducted by Kurt Masur; Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; and Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. In 2017/18 we celebrate the 30th anniversary of our

Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

New CD release on the LPO Label Aldo Ciccolini plays Mozart and Rachmaninoff: released 2 February 2018 Mozart Piano Concerto No. 20 in D minor, K466 Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 Aldo Ciccolini piano Yannick Nézet-Séguin conductor London Philharmonic Orchestra LPO-0102 | £9.99 Recorded live at Southbank Centre’s Royal Festival Hall, London, on 12 October 2011 (Mozart) and 27 May 2009 (Rachmaninoff).

Available from 2 February from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via iTunes, Spotify, Amazon and others

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Programme notes

Speedread Today’s concert journeys through two centuries of music written for string ensemble. At the turn of the 18th century, the Italian composer Arcangelo Corelli wrote a set of pieces for strings that would prove pivotal. Corelli didn’t set out to dazzle; rather to allow his instruments to sing out with elegance and concision. Corelli’s ‘Concerto Grosso’ also advanced new trends in ensemble writing that encouraged instruments or instrumental groups to double as soloists, varying the music’s textures in the process. In a sense, Edward Elgar’s aims were similar to Corelli’s, even though two centuries later the language of music was very different. Elgar’s Serenade includes

Arcangelo Corelli 1653–1713

Arcangelo Corelli served as a musician to wealthy aristocrats and clergymen in Bologna and Rome. While most composers of the day wrote extensively for the voice, Corelli appears to have sung only through his violin. He matured while the ‘Bologna School’ of violin playing (known for technical finesse and tunefulness) was at its height and came to prominence when instrumental music was in need of new life and a new direction. Corelli did indeed find a new direction for instrumental music, but his was no revolution. This composer didn’t seek to dazzle, rather to allow his instruments to sing and provide pleasing progressions through concise melodies and pleasing harmonies. It was these things, together with his preference for clean textures and elegant solo playing, that helped spawn Corelli’s pivotal ‘Concerto Grosso’ collection labelled his Opus 6.

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feelings of wistfulness and undertones of loss, but still strives for a pleasantness of sound that comes from musical construction and an understanding of string instruments themselves. Edvard Grieg’s Holberg Suite hails from less than ten years before Elgar’s work, even if its charming neo-Baroque footing would suggest it was far older. Finally, we hear a masterpiece in the genre from a composer who always wore his heart on his sleeve. Tchaikovsky’s Serenade teems with resonance, both from the instruments themselves and the emotions they convey. No wonder, in the composer’s words, this music ‘poured from the heart’.

Concerto Grosso in D major, Op. 6 No. 1 1 Largo – Allegro – Largo – Allegro 2 Largo – 3 Allegro 4 Allegro

Corelli pioneered the concerto grosso form, in which instruments or instrumental groups step out from within a conversational ensemble texture as soloists in their own right. This emancipating treatment of instruments within an ensemble would pave the way for concerto grosso sets by Vivaldi and Handel. The first concerto of Corelli’s twelve-strong set, published in 1701, is written for a solo (‘concertino’) group of two violins and a cello. Those soloists are first heard in the second of the first movement’s four unrelated sections: after the 11-bar opening Largo, the two violins play in canon (deploying the same theme at staggered intervals) at the same pitch over an elaborate cello solo, forming the first Allegro section. After that there are similar passages of virtuosity from soloists and ensemble, while the music is characterised by a natural ease of texture that established Corelli as the concerto grosso’s pioneer.

Edward Elgar

Serenade for Strings in E minor, Op. 20 1 Allegro Piacevole 2 Larghetto 3 Allegretto

1857–1934

Corelli died a rich man with an extensive art collection. But the climate for professional composers was rather different in Edwardian England from that of 17thcentury Rome. Edward Elgar spent much of his early career working with non-professional musicians, directing various amateur ensembles – including one formed from the staff of the local asylum. It was for the Worcester Ladies’ Orchestra that Elgar wrote his Serenade for Strings in 1892, re-working musical material from up to four years earlier that had never made it off the cutting-room floor.

‘Pleasing’ or ‘agreeable’, implies the Piacevole title of the buoyant first movement. Listen out for the sustained rhythmic figure in the violas that lasts the course of the entire movement and serves as both an accompaniment and a theme. In the second movement Elgar appears at his distinctively noble and unmistakably English best as shapely, elegiac tunes sensitively overlap one another working towards a climax. But this climax has shades of the German music of Richard Wagner (perhaps this was a musical souvenir: Elgar had recently visited Wagner’s festival at Bayreuth). Wagner crops up in the last movement, too, in which the grace of the opening Piacevole prevails before Elgar references the Monsalvat Bells from the opera Parsifal in the work’s dying bars.

Edvard Grieg

Holberg Suite, Op. 40

1843–1907

In 1884 Norway marked the bicentenary of the birth of Ludvig Holberg, a playwright and metaphysician who founded a school of Nordic drama that would prove hugely influential throughout Europe. Composer Edvard Grieg’s contributions to the celebrations included a cantata and a set of five pieces for piano that was consciously constructed as if ‘in Holberg’s time’.

1 2 3 4 5

Praeludium (Allegro vivace) Sarabande (Andante) Gavotte and Musette (Allegretto) Air (Andante religioso) Rigaudon (Allegro con brio)

Holberg’s time was pretty much the same as Corelli’s: the late 1600s and early 1700s. Grieg used a keyboard suite by Corelli’s more famous contemporary Johann Sebastian Bach as the model for his piano pieces, which became known as the Holberg Suite in the version for string orchestra that the composer made shortly after finishing the piano score. The structures and textures echo the music of the Baroque but are coloured by

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Programme notes continued

Grieg’s very distinctive harmonic voice – a marriage of Classical precision to the emotional (and specifically harmonic) power of Romanticism, a useful summary of Grieg’s compositional language as a whole. Grieg referred to the piece as ‘periwigged’, but his own take on French Baroque dance-forms doesn’t feel in the least aristocratic or uptight. The Suite launches with an Allegro of bubbling vitality before a reflective and moving Sarabande. After the lilting Gavotte comes the melodically inspired Air – which is a clear tribute to Bach and his most famous ‘Air’– and finally a Rigaudon, a clipped dance that has the violins playing in the style of the Hardanger fiddle, Norway’s national folk instrument. It was in the town of Hardanger, in fact, that Grieg wrote the Suite between June and August of 1884. He conducted the first performance of the orchestral version on 13 March 1885 in Bergen, the city where both he and Holberg were born.

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

Pyotr Ilyich Tchaikovsky 1840–93

As he strained to give birth to his gargantuan 1812 Overture, Tchaikovsky had another piece on the boil whose arrival was rather smoother. ‘It poured from the heart’, wrote the composer of his Serenade for Strings, which he completed in October 1880. So confident was Tchaikovsky of its quality that he urged his confidante Nadezhda von Meck to play through the parts he sent her on the piano. Tchaikovsky also mentioned to von Meck that he’d written the first movement in homage to Mozart, and the slow introduction is an obvious reference to Mozart’s Serenades. 8 | London Philharmonic Orchestra

Serenade for Strings in C major, Op. 48 1 2 3 4

Pezzo in forma di Sonatina – Andante non troppo Waltz – Moderato Tempi di Valse Elégie – Larghetto elegiaco Finale (Tema Russo) – Andante – Allegro con spirito

The broad melodic sweep that Tchaikovsky brings to the Serenade is more Romantic than Classical, as is the quite breathtaking range of sonorities he coaxes from an all-string ensemble. The first of those melodies makes its entrance after the slow opening of the first movement. There’s a salon-style élan to Tchaikovsky’s second movement, which exposes his lifelong love of the waltz with its effortless sophistication. The mood changes in the third movement, Elégie, in which the timbres are initially more shimmering

and it is a haunting rather than rapturous melody that emerges. The finale is based on two Russian folk themes, infused with the carefree spirit of much of Tchaikovsky’s children’s music and including a pizzicato passage that evokes the sound of Russian balalaikas (guitar-like instruments). But not wanting to grind his gears after the elegiac third movement, Tchaikovsky introduces this finale with a brief passage of quiet, dulcet music. ‘I am violently in love with this work and I cannot wait until it is played’, wrote the composer to his publisher when he finished the piece. Programme notes © Andrew Mellor

Next LPO concerts at Devonshire Park Theatre with soloists of the London Philharmonic Orchestra Sunday 4 march 2018 3.00pm

Sunday 8 april 2018 3.00pm

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 Mr & Mrs Makharinsky Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Dr James Huang Zheng (of Kingdom Music Education Group) Associates Steven M. Berzin Gabor Beyer Kay Bryan William & Alex de Winton Virginia Gabbertas Oleg & Natalya Pukhov George Ramishvili Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre Gilly de Varennes de Bueil Hamish & Sophie Forsyth Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan

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 Rose & Dudley Leigh Mrs Elizabeth Meshkvicheva The Metherell Family Mikhail Noskov & Vasilina Bindley 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 Mr Alan C Butler 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

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Mr Glenn Hurstfield Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble 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 Ralph & Elizabeth Aldwinckle Roger & Clare Barron Mr Geoffrey Bateman David & Patricia Buck Dr Anthony Buckland Desmond & Ruth Cecil Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Peter Cullum CBE Mr Timonthy Fancourt QC Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Mr Raphaël Kanzas

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 Mr Christopher Queree 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 Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney DBE 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 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 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 (Hong Kong) Olivia Ma (Taiwan) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China)

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 Stephanie Yoshida Anthony 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 Giberg Goldman Sachs Pictet Bank White & Case LLP Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce

Bronze Accenture Ageas 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 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 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 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 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 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 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 Project Manager