London Philharmonic Orchestra 8 Apr 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 8 April 2018 | 3.00pm

Vivaldi Chamber Concerto for flute, oboe and bassoon in G minor, RV 103 (10’) Mozart Serenade No. 11 in E flat, K375 (25’) Interval (20’) Rossini Quartet No. 1 for flute, clarinet, bassoon and horn (10’) Barber Summer Music, Op. 31 (12’) Janáček Mládí (17’)

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 On stage today 6 Programme notes 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 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@lewes-eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, The Point, College Road, Eastbourne, East Sussex, BN21 4JJ.

Orchestra news

hank you for joining us at the Devonshire Park Theatre for the final concert in our 2017/18 Eastbourne season. Today nine of the LPO’s renowned woodwind and brass players whirl us around the world, from the baroque splendour of Vivaldi’s Venice to Samuel Barber’s long hot American summer and Leoš Janáček’s youthful escapades in the Czech countryside. There’s wit and ingenuity from Mozart and operatic fun from the master of musical comedy, Gioacchino Rossini. We hope you enjoy the concert. We look forward to returning to Eastbourne next season for six more concerts at the Devonshire Park and Congress theatres, and hope you will be able to join us. Details of the new 2018/19 season will be made available and tickets on sale in due course. New on the LPO Label: Petrushka and The Firebird This month’s CD release on our LPO Label is a disc of Stravinsky’s exuberant ballets Petrushka and The Firebird conducted by Klaus Tennstedt, recorded live in concert at Royal Festival Hall in 1992 (LPO-0105). The CD is priced at £9.99 and, along with 100+ other titles on the label, is available to buy from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Our recordings are also available to download or stream via iTunes, Amazon, Spotify and others. LPO Annual Appeal 2017/18 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.

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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 celebrated his tenth anniversary as the Orchestra’s Principal Conductor. Andrés OrozcoEstrada 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 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 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 100 releases available on CD and to download. Recent additions include Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski, Mozart and Rachmaninoff piano concertos performed by Aldo Ciccolini under Yannick Nézet-Séguin, and Shostakovich’s Symphony No. 7 under Kurt Masur. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation, 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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On stage today

Juliette Bausor (flute/piccolo) joined the London Philharmonic Orchestra in July 2016 as Principal Flute, having previously held the same position with Royal Northern Sinfonia for 11 years. She also plays Principal Flute with the London Mozart Players and is a member of the celebrated chamber group Ensemble 360. Following early recognition in competitions – including reaching the Final of the BBC Young Musician of the Year and winning the Gold Medal in both the Shell LSO Competition and the Royal Over-Seas League Competition – Juliette has performed as a concerto soloist with the London Symphony Orchestra, Ulster Orchestra, Academy of St Martin in the Fields, European Union Chamber Orchestra, Royal Northern Sinfonia and London Mozart Players. In 2014 she was selected by the European Concert Hall Organisation as one of its Rising Stars, which has led to solo engagements in some of Europe’s most prestigious concert venues.

Ian Hardwick (oboe) studied at the Royal College of Music with Michael Winfield and was awarded funds from the Munster Trust for further studies and concerts following graduation. Other performances as a young graduate included recitals and concertos with the South East Arts Scheme at Wigmore Hall, and performances at the Purcell Room as part of the Park Lane Group Young Artists Series. In 1987 Ian joined the English National Opera Orchestra, where he was Principal Oboe for five years before joining the London Philharmonic Orchestra as Principal Oboe in 1992.

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Alice Munday (oboe) arrived at Trinity College of Music in 1998, studying with Tess Miller and Jo Lively. During her time there she took a year out from her studies to take up the position of Sub-Principal Oboe/Principal Cor Anglais in the National Orchestra of Malta. She subsequently went on to study at the Royal Academy of Music as a postgraduate with Chris Cowie, Celia Nicklin, Dougie Boyd and Jonathan Kelly. On leaving the Academy, Alice was appointed Sub-Principal Oboe at the BBC Philharmonic. She then joined the LPO as Sub-Principal Oboe in 2015.

Thomas Watmough (clarinet) studied 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.

Paul Richards (clarinet/bass clarinet) studied clarinet at Chetham’s School of Music and the Royal College of Music, London. He joined the London Philharmonic Orchestra in 1998 – his first appointment following a freelance career. He teaches bass clarinet at the Royal College of Music.

Jonathan Davies (bassoon) was appointed Principal Bassoon of the London Philharmonic Orchestra in 2016. He previously held the same position with the Royal Philharmonic Orchestra, alongside regular appearances as guest principal with the UK’s leading ensembles. Since making his London concerto debut at the Barbican aged 13, solo highlights have included Haydn’s Sinfonia Concertante alongside Maxim Vengerov, Elliott Carter’s Retracing for solo bassoon in the Purcell Room, and a world premiere by David Fennessy with the London Sinfonietta. In 2017 he recorded Mozart’s Bassoon Concerto and Sinfonia Concertante with the London Philharmonic Orchestra and Vladimir Jurowski. Jonathan studied at the Royal Academy of Music, and is currently Visiting Professor of Bassoon and an Associate of the Royal Academy of Music. Gareth Newman (bassoon) studied privately with Charles Cracknell. Orchestral positions have included the Gulbenkian Orchestra in Lisbon, the Royal Liverpool Philharmonic Orchestra, the BBC Concert Orchestra and the London Mozart Players. He joined the London Philharmonic Orchestra as Sub-Principal Bassoon in 2008. Concerto and chamber works include the Weber Bassoon Concerto at the 1994 BBC Proms and performances with the Nash Ensemble and Soloists of the London Symphony Orchestra. He was a Professor of Bassoon at the Royal Academy of Music from 1994–2013. Martin Hobbs (horn) studied at the Royal Northern College of Music with Mike Purton. In his final year of college he joined the Royal Liverpool Philharmonic Orchestra as Fifth Horn, moving to the Bournemouth Symphony Orchestra as Second Horn in 1991, and to the London Philharmonic Orchestra in 1996. His chamber music highlights with the LPO have included performing all the wind music of Richard Strauss as well as Mozart’s Horn Quintet.

David Pyatt (horn) won the prestigious BBC Young Musician of the Year competition at the age of 14. Following this success he embarked on a solo career which has taken him throughout the UK, as well as to Europe, the USA, Canada and Japan. In the UK he has worked with many top orchestras and made his BBC Proms debut in 1993. From 1998–2012 he was Principal Horn of the London Symphony Orchestra. He was appointed Principal Horn of the London Philharmonic Orchestra in 2012. David’s recordings for EMI of the Strauss Concertos and the Britten Serenade with the Britten Sinfonia and Nicholas Cleobury were met with tremendous critical acclaim, with Gramophone naming him as its Young Artist of the Year. In 1996 he signed an exclusive contract with Erato Disques. His first disc on Erato, featuring the Mozart Concertos with Sir Neville Marriner and the Academy of St Martin in the Fields, was Gramophone’s Recording of the Month in July 1997. His second disc of horn and piano works with Martin Jones was followed by a recording of English music with Anthony Rolfe Johnson, Peter Donohoe and Levon Chilingirian. In 2003 a recording of Schubert’s Auf dem Strom with Michael Schade and Graham Johnson was issued by Hyperion. 2006 saw the release of his recording for Quartz of the Brahms Horn Trio with members of the Gould Piano Trio. Chair supported by Sir Simon Robey

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 Sonja Drexler • Friends of the Orchestra Dr Barry Grimaldi • Countess Dominique Loredan Geoff & Meg Mann • Victoria Robey OBE Caroline, Jamie & Zander Sharp • Eric Tomsett Laurence Watt

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Programme notes

Speedread Today’s journey from Italy to America begins in Venice, where the sort of wind instruments we recognise today were relatively new contraptions. Antonio Vivaldi was a pioneer of the instrumental ‘concerto’, but his neat little Chamber Concerto from the early 1700s appears to foreshadow chamber music of a hundred years later. For various reasons, wind ensembles became fashionable in both Imperial Vienna and postRevolutionary France. The works by Mozart and Rossini we hear next were born of those respective

Antonio Vivaldi 1678–1741

These days we think of a ‘concerto’ as a work that pits a soloist against a larger ensemble. That idea of contrast was vital to Vivaldi, who penned over 500 concertos and helped establish the form. But the word ‘concerto’ meant more to the Italian composer than how a work might be scored. It suggested certain features of the musical journey too. Contrast didn’t have to come purely from the difference between one instrument and a group of instruments; it could also come from the juxtaposition of different musical material. The piece by Vivaldi we hear today, which dates from the second decade of the 18th century, looks and sounds rather more like a trio. But Vivaldi used the word ‘concerto’ precisely because of the work’s design. Like the composer’s many standard concertos, it includes a ritornello – a refrain that recurs again and again (notably in the first movement).

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trends, but show distinct musical individuality at the same time. We end in the 20th century: in 1950s America and, eventually, in 1920s Czechoslovakia. Barber and Janáček were two composers who were never concerned with following musical trends. As a result, their works are highly individual, very direct and hugely emotive – perfect, then, for all the fun, games, fortitude and character that come from an ensemble of wind instruments.

Chamber Concerto for flute, oboe and bassoon in G minor, RV 103 Juliette Bausor flute Ian Hardwick oboe Jonathan Davies bassoon 1 Allegro 2 Largo 3 Allegro

Other than that, we effectively hear a trio for three wind instruments in which the bassoon supplies the bass line and in which two fast movements are contrasted with a slower central one. Vivaldi wrote seven concertos that included a part for the flute, and was well aware of the instrument’s ability to sound almost human in its expression. We certainly sense that in the slow Largo and in the helter-skelter final Allegro.

Wolfgang Amadeus Mozart 1756–91

This Serenade by Mozart was born, like the piece by Vivaldi just heard, of instrumental fashion. The emperor Joseph II had recently got himself a ‘harmonie band’ – a wind ensemble that was all the rage in the late 18th century. Mozart was desperate to find favour with the emperor and in 1781 wrote a sextet for winds that he hoped would dazzle the imperial valet Joseph von Strack. When the emperor finalised the line-up of his band to eight players, Mozart even re-scored the piece, adding two oboes to the pairs of bassoons, horns and clarinets.

Serenade No. 11 in E flat, K375 Ian Hardwick | Alice Munday oboes Thomas Watmough | Paul Richards clarinets Jonathan Davies | Gareth Newman bassoons David Pyatt | Martin Hobbs horns 1 Allegro maestoso 2 Menuetto 3 Adagio 4 Menuetto 5 Allegro

Even Joseph II, who had a notoriously short concentration span, would surely have delighted at the Serenade’s journey. Its first movement moves from solemnly glowing chords to all sorts of charming musical effects including heartfelt suspensions and instruments tracking each other at the interval of a third. Through the colourful dance movements, the singing Adagio and the breezy finale, Mozart exposes his own unique creative strengths while affording his players the chance to shine.

Despite that reupholstering, at no point do any instruments in Mozart’s piece feel extraneous. The atmosphere, bathed in the key of E flat that resounds so vividly on wind instruments, is one of beauty and elegant decoration rather than the forthright declamation. But there’s weight and poignancy to this piece too, and satisfying structural balance: a subdued Adagio is surrounded by two ‘Minuet and Trio’ sets and those, in turn, by two Allegro movements.

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

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Programme notes continued

Gioachino Rossini 1792–1868

Quartet No. 1 for flute, clarinet, bassoon and horn Juliette Bausor flute Thomas Watmough clarinet Jonathan Davies bassoon David Pyatt horn 1 Moderato 2 Andante 3 Allegro

When one of the future greats of Italian opera was 12 years old in 1804, he wrote a series of six sonatas for strings in the space of three days that were ‘composed … when I hadn’t even had a lesson in thorough bass’ (in his own words). Rossini further described his sonatas as ‘horrendous’ but he retained a fondness for them and was happy to see them published in Milan in 1826. That year, Rossini was in Paris conducting his new opera Il viaggio a Reims. In the orchestra was the outstanding clarinetist Frédéric Berr, for whom Rossini may well have purposely fashioned some of the opera’s clarinet solos. After the French Revolution, Berr embarked upon a new career arranging works for the combination of

Samuel Barber

flute, clarinet, bassoon and horn – the instruments that had helped carry revolutionary songs throughout the country. In 1828, Berr turned to Rossini’s string sonatas, arranging them for that very combination in the knowledge that Rossini, like those instruments, had never been more popular. The arrangement shows Rossini’s music for what it is: tasteful, clear, wellproportioned and abundant in melody. The first piece channels the spirit of the 18th-century ‘divertimento’, where the tune takes precedence and resounds over simple accompaniments. ‘Horrendous’? Certainly not.

Summer Music, Op. 31

1910–81

Juliette Bausor flute Ian Hardwick oboe Thomas Watmough clarinet Jonathan Davies bassoon David Pyatt horn

Like Mozart, Samuel Barber was a prodigy who began his first opera aged nine. He was also a gifted singer whose sense of lyricism would come to pervade even his non-vocal works. Barber had a long and distinguished career that included a Prix de Rome, two Pulitzer Prizes and a commission to write an opera for the opening of the new Metropolitan Opera House at New York’s Lincoln Centre in 1966.

Exactly a decade earlier, the wind principals of the Detroit Symphony Orchestra gave the first performance of Barber’s Summer Music. The piece had been commissioned by the Detroit Chamber Music Society as a sextet (including piano), but when Barber heard a performance by the New York Wind Quintet in 1954, he resolved to write a piece that the ensemble might one day play itself (it duly did). Summer Music is

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therefore scored for the classic wind quintet line-up of flute, oboe, clarinet, bassoon and horn. ‘It is supposed to be evocative of summer’, wrote Barber of the piece, ‘summer meaning languid, not killing mosquitos’. The opening is indeed languid, its bluesy atmosphere marked ‘slow and indolent’. But soon, summertime energy takes root as the flute and clarinet

Leoš Janáček 1854–1928

bubble up into a series of outbursts. Short bursts of repeated notes then emerge, their rhythmic precision recalling Stravinsky. Eventually the piece, in the form of a palindrome, returns to the ‘indolent’ music of its opening. There are passing recollections of previous sections, before the instrumental chatter crescendos towards the effervescent conclusion.

Mládí Juliette Bausor flute/piccolo Ian Hardwick oboe Thomas Watmough clarinet Paul Richards bass clarinet Jonathan Davies bassoon David Pyatt horn 1 Allegro 2 Andante sostenuto 3 Vivace 4 Allegro animato

As musical nationalism swept through Europe in the 18th and 19th centuries, a number of composers emerged in what is now the Czech Republic who sought to reflect the accent of their homeland in music. Janáček was among them, but he was different. While the likes of Dvořák and Suk were city sophisticates, Janáček was born into a rural peasant family.

1924; he was purposefully recalling elements of his own youth to aid a journalist who was starting work on the composer’s official biography. The piece, like many of Janáček’s great masterpieces, comes from the extraordinarily fruitful last decade of his life, a creative explosion fuelled by his unrequited but passionate love for a married woman named Kamila Stösslová.

That, in part, holds the key to unlocking Janáček’s very individual music. While most nationalist composers sought to ennoble the tradition of folk music by placing it in classical forms, Janáček turned the process on its head by taking vernacular music as his starting point. He explored a style of writing that matched the rhythms of Czech speech and captured the raw, unclean nature of peasant life and art.

We first hear the phrase associated with ‘youth, golden youth’ on the oboe, but it recurs throughout the first and last movements of the piece. The secondmovement Andante presents a theme and subjects it to four variations. Next comes a Vivace scherzo, based on the composer’s March of the Blue Boys, a work from earlier in the year that recalled his time as a chorister at the monastery in Brno. The main theme, with new material, returns in Janáček’s final Allegro.

Mládí is a good example: the work’s opening theme is often said to match the rhythm of the Czech phrase ‘Mládí, zlaté mládí’ (meaning ‘Youth, golden youth’). Janáček started writing this celebration of youth for wind sextet around the time of his 70th birthday in

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Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle An anonymous donor Victoria Robey OBE Orchestra Circle The Tsukanov Family Principal Associates An anonymous donor The Candide Trust In memory of Miss Ann Marguerite Collins 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 HH Prince George-Constantin von Sachsen-Weimar Eisenach Virginia Gabbertas Hsiu Ling Lu 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 Eric Tomsett The Viney Family Laurence Watt Guy & Utti Whittaker Silver Patrons Michael Allen Mrs Irina Gofman David Goldberg Mr Gavin Graham Mr Roger Greenwood 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

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Ignor & Lyuba Galkin Mr Daniel Goldstein Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home 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 Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein Mr Christopher Stewart 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 David & Liz Conway 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 Querée Martin & Cheryl Southgate Matthew Stephenson & Roman Aristarkhov Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Mr John D Barnard 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 Peter and Katie Gray 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)

HH Prince George-Constantin von Sachsen-Weimar Eisenach (Germany) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (China/Hong Kong) Hsiu Ling Lu (China/Shanghai) 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: William A. Kerr Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee David Oxenstierna 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 Bonhams 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 Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations 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 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 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