LPO/Marquee TV digital concert programme: Don Quixote Rides Again - 3 June 2023

2022/23 concert season

Filmed live at the Southbank Centre’s Royal Festival Hall

Don Quixote Rides Again

Broadcast Saturday 3 June 2023

Digital concert programme

Mozart Symphony No. 40 in G minor, K550

R Strauss Don Quixote

Vladimir Jurowski conductor

Kristina Blaumane cello

Chair supported by Bianca and Stuart Roden

Richard Waters viola

Chair supported by Caroline, Jamie & Zander Sharp

London Philharmonic Orchestra on Marquee TV

Don Quixote Rides Again

Click on the headings to jump to a section

3 On stage

4 London Philharmonic Orchestra

5 Leader: Pieter Schoeman

6 Vladimir Jurowski

7 Kristina Blaumane / Richard Waters

8 Programme notes: Mozart

9 New: Vladimir Jurowski on the LPO Label

10 Programme notes: Strauss

11 LPO 2023/24 season – now on sale

12 Marquee TV

13 LPO 90th Birthday Appeal

14 Thank you 16 Sound Futures donors

17 LPO administration

Concert performed at the Southbank Centre’s Royal Festival Hall on 22 April 2023 and filmed by Intersection. This concert is dedicated to the memory of Alexander Cameron.

The LPO would like to acknowledge the generosity of all of its members, supporters and donors. Thank you for your support.

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Alice Ivy-Pemberton Co-Leader

Kate Oswin

Chair supported by Eric Tomsett

Lasma Taimina

Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe

Yang Zhang

Katalin Varnagy

Chair supported by Sonja Drexler

Thomas Eisner

Catherine Craig

Sophie Phillips

Nilufar Alimaksumova

Alice Apreda Howell

Eleanor Bartlett

Caroline Heard

Chu-Yu Yang

Katherine Waller

Second Violins

Tania Mazzetti Principal

Emma Oldfield Co-Principal

Ray Liu

Kate Birchall

Nancy Elan

Fiona Higham

Chair supported by David & Yi Buckley

Nynke Hijlkema

Claudia Tarrant-Matthews

Sheila Law

Lyrit Milgram

Georgina Leo

Sioni Williams

Jamie Hutchinson

Eleonora Consta

Eloise MacDonald

Ricky Gore

On stage

Violas

Richard Waters Principal

Chair supported by Caroline, Jamie & Zander Sharp

Martin Wray

Laura Vallejo

Katharine Leek

Lucia Ortiz Sauco

Michelle Bruil

Shiry Rashkovsky

Naomi Holt

Pamela Ferriman

Kate De Campos

Toby Warr

Mabon Rhyd

Cellos

Bozidar Vukotic Guest Principal

David Lale

Francis Bucknall

Helen Thomas

George Hoult

Sibylle Hentschel

Jane Lindsay

Leo Melvin

Tamaki Sugimoto

Double Basses

Sebastian Pennar Principal

Hugh Kluger

George Peniston

Laura Murphy

Charlotte Kerbegian

Lowri Morgan

Adam Wynter

Michael Fuller

Flutes

Juliette Bausor Principal

Anna Kondrashina

Piccolo

Stewart McIlwham* Principal

Oboes

Ian Hardwick* Principal

Alice Munday

Cor Anglais

Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets

James Gilbert Guest Principal

Harry Cameron-Penny

Paul Richards*

Bass Clarinet

Paul Richards* Principal

E-flat Clarinet

Harry Cameron-Penny

Bassoons

Jonathan Davies Principal

Chair supported by Sir Simon Robey

Guylaine Eckersley

Joanna Baillie Stark

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal

Annemarie Federle Principal

Martin Hobbs

Mark Vines Co-Principal

Francisco Gomez

Duncan Fuller

Neil Mitchell

Trumpets

Paul Beniston* Principal

Tom Nielsen Co-Principal

Anne McAneney*

Trombones

Mark Templeton* Principal Chair supported by William & Alex de Winton

Stephen Turton

Bass Trombone

Lyndon Meredith Principal

Tenor Tuba

David Whitehouse

Tuba

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins Feargus Brennan

Harp

Rachel Masters Principal

Assistant Conductor

Tim Murray

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporter whose player is not present at this concert:

Roger Greenwood

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London Philharmonic Orchestra

Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. With every performance we aim to bring wonder to the modern world and cement our position as a leading orchestra for the 21st century.

Our home is here at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Sharing the wonder

You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 and 2023/24 we’ll once again be working with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

Our conductors

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade. Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Brett Dean our Composer-in-Residence, to be succeeded by Tania León in September 2023.

Soundtrack to key moments

Everyone will have heard the London Philharmonic Orchestra, whether it’s playing the world’s National Anthems at every medal ceremony of the London 2012 Olympics and Paralympics, our iconic recording with Pavarotti that made Nessun Dorma a global football anthem, or closing the flotilla at The Queen’s Thames Diamond Jubilee Pageant. And you’ll almost certainly have heard us on the soundtracks for major films including The Lord of the Rings

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month.

© Benjamin Ealovega

Pieter Schoeman Leader

Next generations

There’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities.

Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We also recently launched the LPO Conducting Fellowship, supporting the development of outstanding early-career conductors from backgrounds currently under-represented in the profession.

Looking forward

Edward Gardner opens our new season in September 2023 with Mahler’s ‘Resurrection’ Symphony, and returns for 11 more concerts including Holst’s The Planets and Stravinsky’s Petrushka. We wrap the season up in April 2024 with Wagner’s Götterdämmerung – the long-awaited conclusion of Conductor Emeritus Vladimir Jurowski’s Ring Cycle.

The centrepiece of the season is our spring 2024 festival

The Music in You. Reflecting our adventurous spirit, the festival will embrace all kinds of expression – dance, music theatre, and audience participation. We’ll be taking our music out of the Royal Festival Hall and into a range of other settings, and collaborating with artists from across the creative spectrum, including jazz pianist and composer Julian Joseph, and choreographer Wayne McGregor in a boundary-defying ballet project. Other premieres include exciting new works by Daniel Kidane, Victoria Vita Polevá, Luís Tinoco and John Williams. Rising stars making their debuts with the Orchestra in 2023/24 include conductors Tianyi Lu, Oksana Lyniv, Jonathon Heyward and Natalia Ponomarchuk, accordionist João Barradas and organist Anna Lapwood. We also welcome back some of the biggest classical names including Anne-Sophie Mutter, Renée Fleming, Robin Ticciati, Paavo Järvi, Christian Tetzlaff and Danielle de Niese.

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Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance.

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 the Southbank Centre’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras; the Rotterdam and BBC Philharmonic orchestras; and the Leipzig Gewandhaus Orchestra.

Pieter’s chair in the LPO is generously supported by Neil Westreich.

© Benjamin Ealovega

Vladimir Jurowski

Conductor Emeritus, London Philharmonic Orchestra

Philadelphia orchestras, the New York Philharmonic and the Chicago and Boston symphony orchestras.

Vladimir Jurowski became the London Philharmonic Orchestra’s Conductor Emeritus in September 2021, following 14 years as Principal Conductor, during which his creative energy and artistic rigour were central to the Orchestra’s success. At the BBC Proms concert with the LPO on 12 August 2021 – his final official concert as Principal Conductor – he received the Royal Philharmonic Society Gold Medal, one of the highest international honours in music.

On 27 April 2024 Vladimir will close the LPO’s 2023/24 season with the long-awaited conclusion of his highlyacclaimed Wagner Ring Cycle with the Orchestra at the Royal Festival Hall: Wagner’s Götterdämmerung

In September 2021 Vladimir became Music Director at the Bavarian State Opera in Munich. Since 2017 he has been Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. He is also Principal Artist of the Orchestra of the Age of Enlightenment, and in 2021 stepped down from his decade as Artistic Director of the Russian State Academic Symphony Orchestra to become its Honorary Conductor. He has previously held the positions of First Kapellmeister of the Komische Oper, Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13).

Vladimir enjoys close relationships with the world’s most distinguished artistic institutions, collaborating with many of the world’s leading orchestras including the Royal Concertgebouw Orchestra, the Chamber Orchestra of Europe, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Cleveland and

A committed operatic conductor, Vladimir’s recent highlights include semi-staged performances of Wagner’s Das Rheingold, Die Walküre and Siegfried with the London Philharmonic Orchestra at the Southbank Centre’s Royal Festival Hall; new productions of Der Rosenkavalier, Shostakovich’s The Nose and Penderecki’s Die Teufel von Loudun at the Bavarian State Opera; Die Frau ohne Schatten in Berlin and Bucharest with the Berlin Radio Symphony Orchestra; Prokofiev’s The Fiery Angel at the Bavarian State Opera; Henze’s The Bassarids and Schoenberg’s Moses und Aron at the Komische Oper Berlin; his acclaimed debut at the Salzburg Festival with Wozzeck; and his first return to Glyndebourne as a guest conductor, for the world premiere production of Brett Dean’s Hamlet with the LPO.

Previous seasons at Glyndebourne – many with the LPO – have included Die Zauberflöte, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nurnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen, Ariadne auf Naxos and Péter Eötvös’s Love and Other Demons.

In the 2022/23 season Vladimir returned to the Chicago Symphony Orchestra, conducted new productions of Così fan tutte and Prokofiev’s War and Peace and a revival of Dean’s Hamlet at the Bavarian State Opera, and showcased a wealth of concert repertoire with the Berlin Radio Symphony and Bavarian State orchestras.

The LPO has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including the complete symphonies of Brahms and Tchaikovsky; Mahler’s Symphonies Nos. 1, 2, 4 & 8; and works by Shostakovich, Stravinsky, Beethoven, Rachmaninoff, Strauss, Mozart, Vaughan Williams, Julian Anderson and Vladimir Martynov. In 2017 the Orchestra released a 7-CD box set of Jurowski’s LPO recordings in celebration of his 10th anniversary as Principal Conductor.

2022 saw the first of a three-volume Stravinsky series on the LPO Label featuring The Rite of Spring and The Firebird (LPO-0123). The second volume, including The Fairy’s Kiss and movements orchestrated by Stravinsky from Tchaikovsky’s The Sleeping Beauty, was released in April 2023 (LPO-0126).

© Drew Kelley

Kristina Blaumane cello Richard Waters viola

Kristina Blaumane was born in Riga and graduated from the Latvian Academy of Music and the Guildhall School of Music & Drama. She has been the London Philharmonic Orchestra’s Principal Cello since 2007, and has been invited to play as a soloist, recitalist and chamber musician around the world. She has performed as soloist with the London Philharmonic Orchestra, Amsterdam Sinfonietta, Chicago Civic Orchestra, Kremerata Baltica, Britten Sinfonia, Lithuanian Chamber Orchestra, Sofia Soloists, Netherlands Wind Ensemble, Dalarna Sinfonietta, MDR Symphony Orchestra Leipzig, Lithuanian National Symphony Orchestra and Ensemble Ubertini, as well as all the main orchestras in Latvia.

As a chamber musician Kristina has worked in partnership with such renowned artists as Isaac Stern, Gidon Kremer, Yo-Yo Ma, Yuri Bashmet, Leif Ove Andsnes, Janine Jansen, Julian Rachlin, Dmitry Sitkovetsky, Bruno Giuranna, Misha Maisky, Nikolaj Znaider, Tatyana Grindenko, Oleg Maisenberg, Michael Collins, Isabelle van Keulen and Alina Ibragimova, and has performed at festivals such as Gstaad, Lockenhaus, Salzburg, Verbier, Basel, Jerusalem, Utrecht, Spitalfields, Cheltenham, Aldeburgh, Homecoming, Crescendo and Amsterdam Cello Biennale. She is a member of Trio Palladio and the Wigmore Soloists ensemble.

Kristina is a winner of many awards including the Latvian Philharmonic Young Musician of the Year, the Latvian television competition ‘Alternativa’, Carmel International Competition, Musicians Benevolent Fund and Lord Mayor’s Prize. She is a two-time laureate of the Great Music Award, the highest prize given by the Latvian State in the field of music (2005 & 2007).

Chair supported by Bianca & Stuart Roden

Co-Principal Viola of the London Philharmonic Orchestra since 2019, Richard Waters has also appeared as Principal Viola with the London Sinfonietta, Philharmonia Orchestra, Royal Philharmonic Orchestra and Royal Liverpool Philharmonic Orchestra, performing in many of the world’s most prestigious venues.

An active chamber musician, Richard has given concerts in Europe, Asia and South America. As a founder member of the prize-winning Bernadel Quartet, he performed at Wigmore Hall, Kings Place and numerous festivals including West Cork.

Richard has also presented his own festival in Devon and Cornwall, where he grew up. As the first Cavatina Chamber Music Fellows at the Royal Academy of Music, the Bernadel Quartet were also selected as the first participants in the ChamberStudio scheme and the Belcea Quartet’s inaugural coaching scheme, with whom they later collaborated to perform Mendelssohn’s Octet.

Studying at the Guildhall School of Music & Drama under Mark Knight and as a postgraduate at the Royal Academy of Music with Paul Silverthorne, Richard achieved the highest honours for his final examinations, the Concert Recital Diploma (GSMD) and the DipRAM from the Royal Academy. In 2018 he was elected an Associate of the Royal Academy of Music.

Richard is a keen advocate for contemporary music, working with many leading composers such as George Benjamin, whose virtuoso work Viola, Viola he has performed on numerous occasions.

Chair supported by Caroline, Jamie & Zander Sharp

© Benjamin Ealovega

© Kevin Lin

Programme notes

Wolfgang Amadeus Mozart 1756–91

Symphony No. 40 in G minor, K550 1788

1 Molto allegro

2 Andante

3 Menuetto

4 Allegro assai

Attempting to reconcile the measured perfection of Mozart’s music with the squalid turbulence of his life can have the mind doing somersaults. The composer teetered perennially on the edge – of chaos, of employability, of success and even of rationalism. But peering into the abyss thrust a wondrous immeasurability into Mozart’s art. In his darkest days, he had a tendency to deliver the most sublime, intense and even joyous music.

Not much was going well for Mozart in the summer of 1788. The composer was experiencing bouts of depression, facing severe financial pressures and was probably on the brink of marital breakdown. He and his wife would later be forced to endure the death of their infant daughter Teresa – a tragedy that occurred midway through a strange and remarkable project: a ‘trilogy’ of final symphonies.

The precise genesis of the symphonies we know as those numbered 39–41 is elusive. No commission exists, and details of first performances are sketchy. There is good reason to believe Mozart wrote this music out of personal need and impulse, rather than to satisfy the terms of a commission – the general way of things in the 18th century. A little less than a year after this middle symphony was completed, Mozart returned to the score, adapting it to include parts for two clarinets and making other tweaks too.

Musically, all three symphonies used ostensibly standard formal footprints but broke new ground within them. The four-movement structure was not simply

a way of providing four contrasting musical experiences; each movement would now echo its predecessor while sowing seeds that would come to fruition later on. The final movement became not the sweet compositional dessert, but the conclusive apex of the symphonic mountain. A narrative struggle emerges in these pieces that would be taken forward by the likes of Beethoven and Mahler.

What sets this Symphony immediately apart is the urgency of its opening – one reason, perhaps, its main theme was so ubiquitously used as a mobile phone ringtone back in the 2000s. Initially, the Symphony is all texture – the music’s slickness of orchestration and distribution of material all the more apparent given its translucence.

Harmonies are relatively simple, until they aren’t. The ‘development’ section sees the same material confronted and discussed with wrenching, grinding harmonic distortions and the demonic spiral of a fullblown fugue (the braiding of a specified tune into an elaborate conversation by different instruments or melodic voices, with the tune introduced at staggered intervals). The music eventually plunges into the unrelated key of F sharp minor, a diversion that would have surprised even Beethoven.

The second-movement Andante – a speed indication suggesting moderation – would appear tranquil were it not stalked by throbbing dissonances and unsettled by an eerie violin melody. There follows a Minuet – a gallant dance by definition, but more like a stomp here, in which

Programme notes

Mozart carves through bar-lines with disorientating syncopations and finds ever-more ominous colours from his instruments.

The pathos of the third movement ferments the explosive tendencies of the fourth. At the start, a perfectly polite and orderly theme tries to stand its ground, but is lashed down time and again by rushing, dismissive strings. More lyrical, soothing music then emerges, and it becomes clear Mozart will force these two contrasting moods to argue it out with extreme stress.

The more heated the conversation becomes, the more it twists and turns in on itself and the more inevitable the music’s onward momentum seems. This Symphony, combining grief and sensuality, has posed mysteries and asked questions, but in its final movement Mozart appears to want out – to close the circle, to shut the conversation down, to stop the noise. Perhaps that’s one reason the music itself appears to teeter on the edge of its own structural integrity.

New on the LPO Label: Vladimir Jurowski conducts Stravinsky Vol. 2

Tchaikovsky (arr. Stravinsky) The Sleeping Beauty (excerpts) Stravinsky The Fairy’s Kiss

Vladimir Jurowski conductor London Philharmonic Orchestra LPO-0126

‘The early evolution of Stravinsky from fledgling to Firebird feels like the most natural thing in the world ... It helps, of course, that the instinct and intellect of this most inquisitive and searching of conductors makes all the right connections.’

Gramophone on ‘Jurowski conducts Stravinsky Vol. 1’ (Editor’s Choice, September 2022)

Recorded live at the Southbank Centre’s Royal Festival Hall on 17 March 2018

Programme notes

Richard Strauss

1864–1949

Don Quixote, Op. 35 1897

Kristina Blaumane cello

Richard Waters viola

No orchestral composer of the late 19th century could define a character in a few concise gestures, or conjure a place and mood with apparently cinematic detail, quite like Richard Strauss could. The genius of Strauss, not unlike his hero Mozart, was that he could incorporate elements of formal ‘classical’ design into all that, knowing that the ingredients of sonata form – a clear differentiation of keys and themes – could bolster the expressive effects of his stories in music.

The string of symphonic poems Strauss produced before turning to opera initially focused on figures from literature and philosophy. In 1897, the composer was drawn to Miguel de Cervantes’s novel Don Quixote, which tells of a chivalrous but deluded knight errant setting out to put the world to rights – even inventing a woman, whose hand he will win, to make the enterprise worthwhile.

Though Strauss had the epic philosophical tone-poem Also sprach Zarathustra under his belt already, his Spanish tale introduced multiple complications, notably the new level of detail required in recounting handpicked scenarios from a sprawling novel that enters the domain of magical realism.

One of Strauss’s solutions was to place the story – his selected segments of it, at least – in the service of what is effectively an extended character-portrait. Strauss subtitled his work ‘Fantastical Variations on a Theme of a Knightly Character’. It is a tone-poem, a theme with ten variations and more. With an extensive solo role for cello and supporting roles for solo viola, violin and bass clarinet, it could even be described as a solo concerto or a sort of ‘concerto grosso’ (a concerto with soloists drawn from within the ensemble).

We can associate the instruments with particular characters: the cello with Don Quixote, the long viola

solo with Sancho Panza – here seen as a prattling sidekick – and the oboe with the Don’s imaginary bride Dulcinea (though the characters aren’t confined to those instruments, and vice versa). The themes presented for variation are, principally, the Don’s ascending flourish and slow climb-down (probably metaphorical) and Dulcinea’s warm, loving theme first heard on an oboe. After the initial statement of both, Strauss weaves a complex contrapuntal web that could be a picture of the Don’s mind struggling with its own fantasies.

What follows is a set of free variations as Quixote’s misadventures begin with Sancho Panza by his side. They discuss knight errantry, with the Don grandstanding in the face of his companion’s doubts to levels of comic self-righteousness (cello and viola duet).

The Don later mistakes windmills for fierce giants (Strauss has them crush the Don’s ascending theme mercilessly, ending with a timpani thump), takes a flock of sheep for an attacking army (Strauss seizes the opportunity to indulge in some more literal tonepainting, asking the brass players to flutter their tongues in the imitation of bleating), ambushes a group of marching pilgrims, experiences a grand vision of Dulcinea and sees himself flying on a magic horse to win her. One moment of clarity clears the decks before the Don accepts death. This moment resonated particularly with Strauss, long fascinated by the notion of mortality and its final acceptance by humans.

Don Quixote was first performed on 8 March 1898 in Cologne, conducted by Franz Wüllner with Friedrich Grützmacher as the soloist. It may not be the loudest or grandest of Strauss’s tone-poems, but it’s undeniably one of the most ambitious.

Programme notes © Andrew Mellor

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Anonymous donors

Ralph & Elizabeth Aldwinckle

Mr & Mrs Robert Auerbach

Mrs Julia Beine

Harvey Bengen

Miss YolanDa Brown OBE

Miss Yousun Chae

Mr Julien Chilcott-Monk

Alison Clarke & Leo Pilkington

Mr Joshua Coger

Miss Tessa Cowie

Mr David Devons

Patricia Dreyfus

Mr Martin Fodder

Christopher Fraser OBE

Will Gold

Ray Harsant

Mr Peter Imhof

The Jackman Family

Mr David MacFarlane

Dame Jane Newell DBE

Mr Stephen Olton

Mari Payne

Mr David Peters

Ms Edwina Pitman

Mr & Mrs Graham & Jean Pugh

Mr Giles Quarme

Mr Kenneth Shaw

Mr Brian Smith

Ms Rika Suzuki

Tony & Hilary Vines

Dr June Wakefield

Mr John Weekes

Mr C D Yates

Hon. Benefactor

Elliott Bernerd

Hon. Life Members

Alfonso Aijón

Kenneth Goode

Carol Colburn Grigor CBE

Pehr G Gyllenhammar

Robert Hill

Keith Millar

Victoria Robey OBE

Mrs Jackie Rosenfeld OBE

Timothy Walker CBE AM

Laurence Watt

Thomas Beecham Group Members

David & Yi Buckley

Gill & Garf Collins

William & Alex de Winton

Sonja Drexler

The Friends of the LPO

Irina Gofman

Roger Greenwood

Dr Barry Grimaldi

Mr & Mrs Philip Kan

John & Angela Kessler

Sir Simon Robey

Victoria Robey OBE

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Julian & Gill Simmonds

Eric Tomsett

Neil Westreich

Guy & Utti Whittaker

Corporate Donor

Barclays

LPO Corporate Circle

Principal

Bloomberg

Carter-Ruck

French Chamber of Commerce

Tutti

Lazard

Natixis Corporate Investment

Banking

Sciteb Ltd

Walpole

Preferred Partners

Jeroboams

Lindt & Sprüngli Ltd

Neal’s Yard

OneWelbeck

Sipsmith Steinway

In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

The Candide Trust

Cockayne – Grants for the Arts

The London Community Foundation

The D’Oyly Carte Charitable Trust

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

John Coates Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Institute Adam Mickiewicz

Kirby Laing Foundation

Lord and Lady Lurgan Trust

Lucille Graham Trust

The Marchus Trust

PRS Foundation

The Radcliffe Trust

Rivers Foundation

Rothschild Foundation

Scops Arts Trust

Sir William Boremans’ Foundation

The John S Cohen Foundation

The R K Charitable Trust

The Stanley Picker Trust

The Thriplow Charitable Trust

TIOC Foundation

Vaughan Williams Foundation

The Victoria Wood Foundation

The Viney Family

The Barbara Whatmore Charitable Trust

and all others who wish to remain anonymous.

Board of the American Friends of the LPO

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

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

Marc Wassermann

Elizabeth Winter

Catherine Høgel Hon. Director

Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

Veronika Borovik-Khilchevskaya

Marie-Laure Favre Gilly de Varennes de Bueil

Aline Foriel-Destezet

Irina Gofman

Countess Dominique Loredan

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Jay Stein

Florian Wunderlich

Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures

Masur Circle

Arts Council England

Dunard Fund

Victoria Robey OBE

Emmanuel & Barrie Roman

The Underwood Trust

Welser-Möst Circle

William & Alex de Winton

John Ireland Charitable Trust

The Tsukanov Family Foundation

Neil Westreich

Tennstedt Circle

Valentina & Dmitry Aksenov

Richard Buxton

The Candide Trust

Michael & Elena Kroupeev

Kirby Laing Foundation

Mr & Mrs Makharinsky

Alexey & Anastasia Reznikovich

Sir Simon Robey

Bianca & Stuart Roden

Simon & Vero Turner

The late Mr K Twyman

Solti Patrons

Ageas

John & Manon Antoniazzi

Gabor Beyer, through BTO

Management Consulting AG

Jon Claydon

Mrs Mina Goodman & Miss

Suzanne Goodman

Roddy & April Gow

The Jeniffer & Jonathan Harris

Charitable Trust

Mr James R.D. Korner

Christoph Ladanyi & Dr Sophia

Ladanyi-Czernin

Robert Markwick & Kasia Robinski

The Maurice Marks Charitable Trust

Mr Paris Natar

The Rothschild Foundation

Tom & Phillis Sharpe

The Viney Family

Haitink Patrons

Mark & Elizabeth Adams

Dr Christopher Aldren

Mrs Pauline Baumgartner

Lady Jane Berrill

Mr Frederick Brittenden

David & Yi Yao Buckley

Mr Clive Butler

Gill & Garf Collins

Mr John H Cook

Mr Alistair Corbett

Bruno De Kegel

Georgy Djaparidze

David Ellen

Christopher Fraser OBE

David & Victoria Graham Fuller

Goldman Sachs International

Mr Gavin Graham

Moya Greene

Mrs Dorothy Hambleton

Tony & Susie Hayes

Malcolm Herring

Catherine Høgel & Ben Mardle

Mrs Philip Kan

Rehmet Kassim-Lakha de Morixe

Rose & Dudley Leigh

Lady Roslyn Marion Lyons

Miss Jeanette Martin

Duncan Matthews KC

Diana & Allan Morgenthau

Charitable Trust

Dr Karen Morton

Mr Roger Phillimore

Ruth Rattenbury

The Reed Foundation

The Rind Foundation

Sir Bernard Rix

David Ross & Line Forestier (Canada)

Carolina & Martin Schwab

Dr Brian Smith

Lady Valerie Solti

Mr & Mrs G Stein

Dr Peter Stephenson

Miss Anne Stoddart

TFS Loans Limited

Marina Vaizey

Jenny Watson

Guy & Utti Whittaker

Pritchard Donors

Ralph & Elizabeth Aldwinckle

Mrs Arlene Beare

Mr Patrick & Mrs Joan Benner

Mr Conrad Blakey

Dr Anthony Buckland

Paul Collins

Alastair Crawford

Mr Derek B. Gray

Mr Roger Greenwood

The HA.SH Foundation

Darren & Jennifer Holmes

Honeymead Arts Trust

Mr Geoffrey Kirkham

Drs Frank & Gek Lim

Peter Mace

Mr & Mrs David Malpas

Dr David McGibney

Michael & Patricia McLaren-Turner

Mr & Mrs Andrew Neill

Mr Christopher Querée

The Rosalyn & Nicholas Springer

Charitable Trust

Timothy Walker CBE AM

Christopher Williams

Peter Wilson Smith

Mr Anthony Yolland

and all other donors who wish to remain anonymous

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Kate Birchall*

David Burke

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich

Simon Freakley (Ex officio –Chairman of the American Friends of the London Philharmonic Orchestra)

*Player-Director

Advisory Council

Roger Barron Chairman

Christopher Aldren

Richard Brass

Helen Brocklebank

YolanDa Brown OBE

David Buckley

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Sir Alan Collins KCVO CMG

Andrew Davenport

Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jenny Goldie-Scot

Jonathan Harris CBE FRICS

Marianna Hay MBE

Nicholas Hely-Hutchinson DL

Amanda Hill

Martin Höhmann

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 KC

Julian Simmonds

Barry Smith

Martin Southgate

Chris Viney

Laurence Watt

Elizabeth Winter

General Administration

Elena Dubinets

Artistic Director

David Burke Chief Executive

Chantelle Vircavs PA to the Executive

Concert Management

Roanna Gibson Concerts and Planning Director

Graham Wood Concerts and Recordings Manager

Maddy Clarke Tours Manager

Madeleine Ridout Glyndebourne and Projects Manager

Alison Jones

Concerts and Recordings Co-ordinator

Robert Winup

Concerts and Tours Assistant

Matthew Freeman

Recordings Consultant

Andrew Chenery

Orchestra Personnel Manager

Sarah Thomas

Martin Sargeson

Librarians

Laura Kitson Stage and Operations Manager

Stephen O’Flaherty

Deputy Operations Manager

Felix Lo

Orchestra and Auditions Manager

Finance

Frances Slack

Finance Director

Dayse Guilherme

Finance Manager

Jean-Paul Ramotar Finance and IT Officer

Education and Community

Talia Lash

Education and Community Director

Lowri Davies

Hannah Foakes

Education and Community Project Managers

Hannah Smith Education and Community Co-ordinator

Claudia Clarkson Regional Partnerships Manager

Development

Laura Willis

Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin

Trusts and Foundations Manager

Katurah Morrish

Development Events Manager

Eleanor Conroy

Al Levin

Development Assistants

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen

Development Associate

Marketing

Kath Trout

Marketing and Communications Director

Sophie Harvey

Marketing Manager

Rachel Williams

Publications Manager

Harrie Mayhew

Website Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Greg Felton

Digital Creative

Hayley Kim

Marketing Co-ordinator

Alicia Hartley

Digital Co-ordinator

Archives

Philip Stuart Discographer

Gillian Pole

Recordings Archive

Professional Services

Charles Russell Speechlys Solicitors

Crowe Clark Whitehill LLP

Auditors

Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

89 Albert Embankment

London SE1 7TP

Tel: 020 7840 4200

Box Office: 020 7840 4242

Email: admin@lpo.org.uk lpo.org.uk

Cover photo Silent Studio © James Wicks