London Philharmonic Orchestra 15 November concert programme Eastbourne by London Philharmonic Orchestra

Congress Theatre, Eastbourne Concert programme 2015/16 Season lpo.org.uk

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader PIETER SCHOEMAN† Composer in Residence MAGNUS LINDBERG Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Congress Theatre, Eastbourne Sunday 15 November 2015 | 3.00pm

Mozart Overture, The Marriage of Figaro (4’) Prokofiev Violin Concerto No. 2 in G minor, Op. 63 (26’) Interval Beethoven Symphony No. 3 in E flat major, Op. 55 'Eroica' (47’)

Gad Kadosh conductor Kristīne Balanas violin

* supported by the Tsukanov Family Foundation † supported by Neil Westreich CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Programme £2.50 Contents 2 Welcome Orchestra News 3 On stage today 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Gad Kadosh 7 Kristīne Balanas 8 Programme notes 13 2016 LPO Eastbourne concerts 14 Sound Futures donors 15 Supporters 16 LPO administration The timings shown are not precise and are given only as a guide.

Welcome

Orchestra news

Welcome to the Congress Theatre, Eastbourne

'Implacable Doom' We are now well into our 2015/16 season and the Orchestra has received some wonderful reviews for the first concerts. '[Vladimir] Jurowski does implacable doom very well,' wrote Ivan Hewett in The Telegraph, referring to a performance on 26 September, adding 'and I’ve rarely heard the storm that begins Tchaikovsky’s Francesca da Rimini seem so relentless and unstoppable'. Of the first concert of the season (Mahler's Symphony No. 7) The Telegraph's John Allison felt that 'by the end of the virtuosically demanding, 90-minute score, the orchestra had worked hard enough for one evening, and indeed its playing throughout remained wonderfully alive and fresh, full of muscular punch'. Colin Anderson of Classical Source went home after the 3 October concert (Knussen, Sibelius and Scriabin) a happy critic: 'the performance was superb, played magnificently and conducted with sympathy and surety'. And you, the Eastbourne audience, received a well-deserved mention: 'an experienced audience was given a chance to show its appreciation quickly and did so with gusto as the powerful crescendo of Shostakovich’s six-minute Festive Overture rang out across the concert hall,' wrote Joel Adams in The Argus about our first concert back in the Congress Hall.

Artistic Director Chris Jordan General Manager Gavin Davis Welcome to this afternoon’s performance by the London Philharmonic Orchestra. We hope you 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 delighted and proud to have the London Philharmonic Orchestra reside at the Congress Theatre for the 19th year. Thank you, our audience, for continuing to support the concert series. Without you, these concerts would not be possible. We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email theatres@eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

All reviews of concerts can be found on the website – be sure to see if you agree with the critics' verdicts of today's performance! lpo.org.uk/explore/reviews/ Classical Live The Orchestra is delighted to be part of Classical Live, a brand new recording program made exclusively for Google Play showcasing the great orchestras of the world in recent live performances. It's yet another way the Orchestra is able to expand its reach to new audiences across the globe. The first release is of a concert performed in March this year featuring excerpts from Prokofiev's Chout ('The Buffoon'), LPO Composer in Residence Magnus Lindberg's Piano Concerto No. 2 with Yefim Bronfman as soloist, and Stravinsky's Petrushka. Vladimir Jurowski conducts. classical-live.com

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On stage today

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Ilyoung Chae Chair supported by an anonymous donor

Katalin Varnagy Chair supported by Sonja Drexler

Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Galina Tanney John Dickinson Gavin Davies Jacqueline Roche Caroline Simms Suzannah Quirke Matthew Bain Second Violins Dania Alzapiedi Guest Principal Fiona Higham Joseph Maher Sioni Williams Harry Kerr Elizabeth Baldey Alberto Vidal Cathy Fox Kate Lindon Emma Martin

Violas Gregory Aronovich Principal Benedetto Pollani Emmanuella Reiter Laura Vallejo Sarah Malcolm Martin Fenn Richard Cookson Stanislav Popov Cellos Pei-Jee Ng Principal Francis Bucknall Santiago Carvalhoâ&#x20AC; David Lale Elisabeth Wiklander Chair supported by The Viney Family

Susanna Riddell Double Basses George Peniston Principal Lowri Morgan Charlotte Kerbegian Ben Wolstenholme Flutes Harry Winstanley Guest Principal Stewart McIlwham* Chair supported by Friends of the Orchestra

Bassoons Simon Estell Principal Laura Vincent

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Eric Tomsett; The Jeniffer and Jonathan Harris Charitable Trust; David & Victoria Graham Fuller; Bianca and Stuart Roden; Victoria Robey OBE; Simon Robey; Laurence Watt; William & Alex de Winton; Andrew Davenport

Horns Philip Eastop Guest Principal Martin Hobbs Alex Wide Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Timpani Henry Baldwin Principal Chair supported by Jon Claydon

Percussion Keith Millar Principal Karen Hutt * Holds a professorial appointment in London â&#x20AC; Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

Oboes Timothy Rundle Guest Principal Jenny Brittlebank Clarinets Thomas Watmough Principal James Maltby

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London Philharmonic Orchestra

‘It was one of those unforgettable evenings where everything and everyone performed beautifully [with] an extraordinary performance by the London Philharmonic ... The ovation should have been standing.’ Andrew Collins, The News, March 2015 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 community groups. 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 currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives over 30 concerts each season. Throughout 2014/15 the Orchestra gave a series of concerts entitled Rachmaninoff: Inside Out, a festival exploring the composer’s major orchestral

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masterpieces. 2015/16 is a strong year for singers, with performances by Toby Spence and Anne Sofie von Otter amongst others; Sibelius enjoys 150th anniversary celebrations; distinguished visiting conductors include Stanisław Skrowaczewski, Jukka-Pekka Saraste and Vasily Petrenko, with Robin Ticciati returning after his debut in 2015; and in 2016 the LPO joins many of London’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400 years since his death. The Orchestra continues its commitment to new music with premieres of commissions including Magnus Lindberg’s Second Violin Concerto, and works by Alexander Raskatov and Marc-André Dalbavie. 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

Pieter Schoeman leader

Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of the 2015/16 season include visits to Mexico City as part of the UK Mexico Year of Culture, Spain, Germany, Canary Islands, Belgium, a return to the Concertgebouw, Amsterdam and the Orchestra’s premiere at La Scala, Milan.

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. 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 a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7

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 80 releases available on CD and to download. Recent additions include Vaughan Williams’s Symphonies Nos. 4 and 6, Bruckner’s Symphony No. 3 conducted by Stanisław Skrowaczewski and Messiaen’s Des Canyons Aux Étoiles.

Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002. Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington. 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 performs at London's prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt's Double Concerto with Boris Garlitsky, Brahms's Double Concerto with Kristina Blaumane, and Britten's Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra's own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra 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. 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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Gad Kadosh conductor

When Gad Kadosh took the podium, the music seemed to flow naturally out of the orchestra; he allowed the piece to speak for itself.

Jessica Duchen, music journalist

Gad Kadosh is currently second Kapellmeister and assistant conductor at Theater Heidelberg. He received the first prize in the MDR Conducting Competition (MDR Symphony Orchestra, Leipzig) in 2011, then selected by Bernard Haitink as one of seven candidates to take part in his 2012 Conducting Masterclass in Lucerne with the Lucerne Festival Strings. Gad studied piano performance at the Buchmann-Mehta School of Music in Tel-Aviv, where he won the Isman prize and was awarded scholarships from the America-Israel Cultural Foundation. He went on to study conducting with Vag Papian in Israel, Lutz Köhler in Berlin, and Martin Hoff in Weimar. Prior to his position in Heidelberg Gad worked as repetiteur and Assistant Conductor at the Theater für Niedersachsen in Hildesheim. In Heidelberg he has conducted Così fan tutte (Mozart), Tosca (Puccini), A Masked Ball (Verdi), La traviata (Verdi) and Die Fledermaus (Strauss); in Hildesheim Don Pasquale (Donizetti), Eugene Onegin (Tchaikovsky), Das Land des Lächelns (Lehár) and Ein Walzertraum (Oscar Straus). In October 2014 Gad conducted the headline concert at the Two Moors Festival in Exeter Cathedral, with a programme including Beethoven's Symphony No. 3 'Eroica' and Bruch’s First Violin Concerto with soloist Agata Szymczewska. During last season he also conducted the University of Cambridge Symphony Orchestra in Brahms's Piano Concerto No. 1 with Peter Donohoe.

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Whilst Classical and Romantic repertoire form the core of his current oeuvre, Gad has worked with young composers and conducted contemporary repertoire; he has directed ensembles such as Klangzeitort and Zafraan in Berlin, and conducted Miss Donnithorne’s Maggot (Peter Maxwell Davies) and Arlecchino (Ferruccio Busoni). Recently, he premiered three chamber operas in Heidelberg – Erwartung (Schoenberg), Twice Through The Heart (Turnage) and Death Knocks (Jost). Future appearances in Heidelberg include a revival of Mozart's Così fan Tutte, The Marriage of Figaro, Humperdinck's Hänsel und Gretel, and a new production of Puccini's La bohème. Gad Kadosh is managed worldwide by Percius, www.percius.co.uk. gadkadosh.com

Kristīne Balanas violin

Kristīne Balanas produced eye-popping virtuosity. The Times

Latvian Kristīne Balanas started violin studies aged seven, and has since been the recipient of countless awards in several international competitions, most notably First Prize in addition to the ‘Virtuoso Prize’ in the 12th International Violin competition in Kloster Schöntal, and most recently the 30th International Violin Competition Rodolfo Lipizer in 2011, alongside a special prize for the best interpretation of a 20th-century violin concerto. Following on from her initial education in Riga, where she studied at the Emīls Dārziņš Specialist Music School with Romans Šnē, she was invited to study with Professor György Pauk on a full scholarship at the Royal Academy of Music, London, graduating in 2014 with a Master of Arts with Distinction. In 2012, she was awarded Her Royal Highness Princess Alice, Duchess of Gloucester’s Prize of 2012 for Exemplary Studentship. Throughout her course of study, she has been supported by the Countess of Munster Trust, Hattori Foundation, Martin Musical Scholarship Trust, The Craxton Memorial Trust, and the Steele Trust.

Place in London, and recently performed the UK premiere of Miecyslaw Weinberg’s Concerto for Violin and Orchestra with the Ealing Symphony Orchestra. Kristīne has received lessons and performed in masterclasses with Leonidas Kavakos, Maxim Vengerov and Shlomo Mintz, and is the Artist-in-Residence at University of Buckingham. She has recently been awarded a three-year chamber music scholarship at the Villa Musica, Schloss Engers, Rheinland-Pfalz. Recent highlights include performances with Latvian National Radio Live Recitals, concerto performances with various orchestras throughout Europe and Japan, and collaborations with Boris Garlitsky and Cello Duello. kristinebalanas.com

Kristīne has performed as a soloist with the Latvian National Orchestra, Sendai Philharmonic Orchestra, Polish Chamber Philharmonic Orchestra, Slovakian Chamber Orchestra, Kaunas City Symphony Orchestra, Sinfonietta Riga, and the RTE National Orchestra, Dublin, with a particular highlight her 2014 soloist performance at the Barbican Centre with the Moscow Soloists under Yuri Bashmet. She has performed on BBC Radio 3’s In Tune and BBC One’s The One Show, and at St John’s Smith Square, the Purcell Room and King’s

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Programme notes

Speedread Three milestones in today's concert. Mozart’s The Marriage of Figaro raised comic opera to a new level of musical and psychological depth without diluting its power to charm and entertain, while in his Second Violin Concerto Prokofiev’s natural composerly skills and lyrical gifts combined to produce a work that heralded a personal shift towards simple and affecting, but nonetheless profound tunefulness.

Wolfgang Amadeus Mozart

And in his ‘heroic’ Third Symphony, Beethoven not only achieved technical mastery in the genre, he also created a powerfully communicative new role for it: in the four short years since his First he took the symphony from its Classical origins to an expressive world from which it would never retreat.

Overture, The Marriage of Figaro

1756–91

There are moments in artists’ lives when, quite simply, the time is right – when maturing talent, glowing opportunity and countless other happy circumstances unite to create the perfect conditions for something special. There can be little doubt that the second half of 1785, when Mozart began work on Le nozze di Figaro ('The Marriage of Figaro') was such a moment. It was his first opera for three years. His previous effort, Die Entführung aus dem Serail, had been a comedy in German, but even within months of its successful premiere he was telling his father in a letter ‘I should dearly like to show what I can do in an Italian opera’. Now, some four years after moving to Vienna, exposure to the Imperial capital’s stimulating musical and artistic environment had brought a new richness to his music. A great series of piano concertos, composed for himself to play, was making him a celebrity, while marriage had brought contentment and stability in his domestic life. The final piece in the jigsaw came in the person of Lorenzo da Ponte, a new

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librettist for Mozart whose creative brilliance and instinctive dramatic genius were perfect matches for his own. Together, in The Marriage of Figaro, premiered at Vienna’s Burgtheater on 1 May 1786, they produced one of the great masterpieces of opera, a work of unsurpassed sophistication and psychological penetration, couched in words and music of typically untouchable grace and beauty. The opera depicts the outwitting by his servants, led by the valet Figaro, of a nobleman’s attempts to exercise droit de seigneur, but while there is perhaps a hint in the Overture’s unusual opening of the intrigues to follow, all that really need concern us in this concert context is the exciting surge of energy this little piece represents, right through to the drawn-out crescendo with which it ends.

Sergei Prokofiev 1891–1953

Prokofiev’s Second Violin Concerto came 18 years after his First, and just as the earlier work, composed in 1917, dated from the beginning of his period of residence outside his native Russia (mainly in Paris), so the later one marked the end of it as he prepared for his return. As befits such a position in his life, it also reflected a change of direction for his music. The one-time enfant terrible of provocatively brutal works such as the Scythian Suite and the earlier piano works now consciously determined on a ‘new simplicity’ which not only aligned conveniently with the Soviet taste for music of direct, uncomplicated, essentially optimistic expression, but also mined a seam of rich melodic inspiration that had always been latent in his music. The Second Violin Concerto, commissioned for the French violinist Robert Soëteus and premiered by him in Madrid on 1 December 1935, displays these qualities with effortless ease and grace, and together with the ballet Romeo and Juliet, composed for the Kirov Company at the same time, stands at the head of a stream of readily tuneful compositions such as Peter and the Wolf and the scores for the films Lieutenant Kijé and Alexander Nevsky. Prokofiev did not confuse simplicity with banality, however; he knew as well as anyone that it was a difficult skill, and that originality was still vital. ‘Finding the right language for our music is not easy,' he wrote in a Soviet newspaper article in 1934. ‘It should first of all be melodic, but the melody, though simple and accessible, should not become a refrain or a trivial turn of phrase …The same holds true for compositional technique and how it is set forth; it must be clear and simple but not hackneyed. Its simplicity must not be old-fashioned.’

Violin Concerto No. 2 in G minor, Op. 63 Kristīne Balanas violin 1 Allegro moderato 2 Andante assai 3 Allegro, ben marcato

The Second Violin Concerto, a work operating at a high level of inspiration, could certainly not be found wanting on these issues. Starting straight in with the soloist outlining a lean but calmly elegant melody, it alternates more animated episodes with reflective statements of this subject and a second, more warmly romantic theme. Here, as in the rest of the concerto, the soloist’s part is not overtly virtuosic; unlike in the concertos for his own instrument, the piano, Prokofiev saw no need for technical fireworks, and even originally shied away from the ‘concerto’ word, considering for a time calling it a ‘concertante sonata for violin and orchestra’. The second movement opens with another beautifully conceived violin melody, this time suspended weightlessly over a simple but assured triplet accompaniment from pizzicato strings and clarinet. The passion heightens gradually, the soloist playing almost all the while, until a slightly quicker dance-like central section is reached, followed by a return to the music of the first section. At the end, roles are reversed as the soloist supplies the accompanying triplets to a statement of the opening theme on clarinets and muted cellos. The whole enchanting movement could almost be a lost scene from Romeo and Juliet. The last movement, a rondo, finally brings an upturn in energy, and with it harmonic and melodic bite. Opening with a raspy waltz-like tune whose every subsequent reappearance will be accompanied by castanets, it toys with rhythmic irregularities and Shostakovich-like sardonic grotesques, reaching its end in an atmosphere almost of burlesque.

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

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Programme notes continued

Ludwig van Beethoven 1770–1827

Only a year separates the completion of Beethoven’s Second Symphony from that of his Third, yet in that time the composer made an enormous leap forward that left his contemporaries gasping in his wake. It was not just that the ‘Eroica’ (‘Heroic’) expanded the physical size of the symphony to hitherto unknown dimensions; it also imbued the genre with a new and gigantic message, turning it into an artistic and philosophical statement that transcended any of its previously accepted functions. For here Beethoven used the symphony to express nothing less than his abiding faith in mankind’s capacity for greatness. The figure with whom he most associated greatness when he wrote the work in 1803 was Napoleon. At that time Napoleon seemed to embody the republican ideals of many of Europe’s intellectuals, but when he crowned himself Emperor in 1804 Beethoven angrily deleted his name from the title-page of the score, where he had been cited as dedicatee. Yet heroism – personal and idealistic – did not lose its significance for the composer. His own claim to artistic heroic status could hardly be doubted after his emergence from the near-suicidal despair of 1802 with creativity unimpaired, and the spiritual rebirth this represented is outlined in the four movements of the ‘Eroica’: the first a titanic struggle; the second a tragic funeral march; the third a joyous renewal of life; and the last a confident and triumphant affirmation of the power of Man. It was with this realisation of the extra-musical autobiographical potential of the symphony that Beethoven was to set the ideological tone for the next hundred years of symphonic writing

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Symphony No. 3 in E flat major, Op. 55 'Eroica' 1 2 3 4

Allegro con brio Marcia funebre: Adagio assai Scherzo and Trio: Allegro vivace Finale: Allegro molto

As in the Second Symphony, Beethoven’s expansion of the genre’s dimensions here makes use of the conventional building blocks, but in the ‘Eroica’ the familiar is made to sound impressively different. The opening chords are almost startlingly terse, while in its smooth spaciousness the main theme is like no main theme ever written before. The central development section is a long and brutal battle, but leads to a return to the main theme that is hushed and mysterious. After all this, the movement’s long, gently developmental coda is nothing less than a structural necessity. The second movement – the funeral march – makes large-scale use of what is basically a simple design. Three immensely slow, grief-stricken outer sections frame a vainly hopeful major-key ‘trio’, a solemn double fugue and a cataclysmic orchestral upheaval. There is another long coda, at the end of which, in one of the symphony’s most radical gestures, the music literally disintegrates, seemingly incapable of consolation. But all is not lost. The Scherzo now steals in almost imperceptibly on the woodwind and strings, to be joined eventually by the full orchestra. The Trio does not do much to calm the celebrations, though it is less frantic, and the repeat of the first section is no mere formal nicety but a winding-up of the euphoria, with the orchestra at one point almost falling over itself with glee. The Finale is one movement in which Beethoven did create a new formal design – a unique combination of variation form, passacaglia and rondo. After a noisy orchestral opening, the movement’s early progress

from stark bass-line to dance-like tune is borrowed from an earlier set of piano variations on a theme from Beethoven’s music for the ballet The Creatures of Prometheus. The theme itself does not appear until the third variation, where it is played by the oboe, but by then the music has already begun to acquire an unstoppable feel. Eventually a slower variation brings the movement a dignity more befitting the work’s heroic subject, before a return of the orchestral introduction sweeps the music into a joyful coda. The story of the Prometheus ballet had concerned a figure who creates two beings with the aid of fire stolen from the gods and then instructs them in human arts and passions. As a representation of the creative artist’s role as educator and civilising influence, it could hardly have failed to appeal to Beethoven; by making such direct reference to it, how better could he have concluded this masterly symphonic self-portrait?

Recommended recordings of tonight’s works Mozart: The Marriage of Figaro Dresden Staatskapelle | Colin Davis [RCA] Prokofiev: Violin Concerto No. 2 Lydia Mordkovich | Royal Scottish National Orchestra | Neeme Järvi [Chandos] Beethoven: Symphony No. 3 'Eroica' London Philharmonic Orchestra | Klaus Tennstedt [EMI Classics]

Programme notes © Lindsay Kemp

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Recordings and Gifts It's unbelievable that it's so nearly that time of year again so here are some handy suggestions for presents for friends and family who love to hear great music played by a great orchestra!

Latest releases on the LPO label The Genius of Film Music Hollywood Blockbusters 1960s to 1980s John Mauceri conductor £10.99 (2 CDs) | LPO-0086

Beethoven Coriolan Overture Symphony No. 5

Klaus Tennstedt conductor A BBC recording £6.99 | LPO-0087

Browse the catalogue and sign up for updates at lpo.org.uk/recordings A selection of CDs will be available at Eastbourne Congress Theatre.

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

Subscription Packages Treat someone you know to a subscription to the London Philharmonic Orchestra's CD releases and they will receive all the new releases on the LPO Label for a whole year*, mailed before the CDs are available in the shops. *Not available during the summer months

Available online at lpo.org.uk/recordings-and-gifts or LPO Ticket Office (020 7840 4242)

One year CD subscription: £79.99 10 CDs (worth at least £100) Exclusive pre-release mailing Inclusive of P&P

Half year CD subscription: £44.99 5 CDs (worth at least £50) Exclusive pre-release mailing Inclusive of P&P

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at Congress Theatre, Eastbourne Sunday 31 January 2016 | 3.00pm

Sunday 14 February 2016 | 3.00pm

Wagner Prelude to Act 1, Die Meistersinger von Nürnberg Bruch Violin Concerto No. 1 Khachaturian Masquerade Suite Tchaikovsky Swan Lake (excerpts)

VALENTINE’S DAY CONCERT

Matthew Wood conductor Tianwa Yang violin

Nielsen Helios Overture Schumann Piano Concerto Sibelius Symphony No. 5 Christian Kluxen conductor Jayson Gillham piano

Sunday 6 March 2016 | 3.00pm Medtner Piano Concerto No. 2 Tchaikovsky Symphony No. 3 Vladimir Jurowski conductor Marc-André Hamelin piano

Sunday 17 April 2016 | 3.00pm De Falla The Three-cornered Hat (Suite No. 2) Rodrigo Fantasía para un gentilhombre* Prokofiev Romeo and Juliet (excerpts) Jaime Martín conductor Miloš Karadaglić guitar *Please note a change to the work from originally advertised

Tickets £13–£29 plus £1 postage per booking. Box Office 01323 412000 Book online at eastbournetheatres.co.uk

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

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Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Lady 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 Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland And all other donors who wish to remain anonymous

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Neil Westreich William and Alex de Winton Mrs Philip Kan* Simon Robey Victoria Robey OBE Bianca & Stuart Roden Laurence Watt Anonymous Jon Claydon Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller The Jeniffer and Jonathan Harris Charitable Trust Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds* Eric Tomsett The Viney Family John & Manon Antoniazzi Jane Attias John & Angela Kessler Guy & Utti Whittaker * BrightSparks Patrons: instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

Principal Benefactors Mark & Elizabeth Adams David & Yi Yao Buckley Desmond & Ruth Cecil Mr John H Cook Mr Bruno de Kegel David Ellen Mr Daniel Goldstein Drs Frank & Gek Lim Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mr Geoffrey Bateman Mrs A Beare Ms Molly Borthwick David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Gavin Graham Wim and Jackie Hautekiet-Clare Tony & Susan Hayes Mr Daniel Heaf and Ms Amanda Hill Michael & Christine Henry Malcolm Herring

J. Douglas Home Ivan Hurry Mr Glenn Hurstfield Per Jonsson Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Ms Ulrike Mansel Mr Robert Markwick and Ms Kasia Robinski Mr Brian Marsh Andrew T Mills Dr Karen Morton Mr & Mrs Andrew Neill Mr Michael Posen Alexey & Anastasia Reznikovich Mr Konstantin Sorokin Martin and Cheryl Southgate Mr Peter Tausig Simon and Charlotte Warshaw Howard & Sheelagh Watson Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: Accenture Berenberg Carter-Ruck We are AD Bronze: Appleyard & Trew LLP BTO Management Consulting AG Charles Russell Speechlys Lazard Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc

Trusts and Foundations Angus Allnatt Charitable Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust The Candide Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Idlewild Trust Kirby Laing Foundation The Leche Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute The Peter Minet Trust

The Ann and Frederick O’Brien Charitable Trust Office for Cultural and Scientific Affairs of the Embassy of Spain in London The Austin and Hope Pilkington Trust The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous

London Philharmonic Orchestra | 15

Administration Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Roger Barron Richard Brass Desmond Cecil CMG Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rachel Masters* George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Laurence Watt Neil Westreich David Whitehouse* * Player-Director Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Alexandra Jupin Jill Fine Mainelli Kristina McPhee Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director (maternity leave)

Alison Atkinson Digital Projects Director

Amy Sugarman PA to the Chief Executive / Administrative Assistant

Clare Lovett Education Director (maternity cover)

Finance

Talia Lash Education and Community Project Manager

Albion Media (Tel: 020 3077 4930)

Lucy Duffy Education and Community Project Manager

Philip Stuart Discographer

David Burke General Manager and Finance Director David Greenslade Finance and IT Manager Dayse Guilherme Finance Officer

Richard Mallett Education and Community Producer

Concert Management

Development

Roanna Gibson Concerts Director

Nick Jackman Development Director

Graham Wood Concerts and Recordings Manager

Catherine Faulkner Development Events Manager

Jenny Chadwick Tours Manager Tamzin Aitken Glyndebourne and UK Engagements Manager Alison Jones Concerts and Recordings Co-ordinator

Kathryn Hageman Individual Giving Manager Laura Luckhurst Corporate Relations Manager Anna Quillin Trusts and Foundations Manager Rebecca Fogg Development Co-ordinator

Jo Cotter Tours Co-ordinator

Helen Yang Development Assistant

Orchestra Personnel

Kirstin Peltonen Development Associate

Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians (job-share) Christopher Alderton Stage Manager

Marketing Kath Trout Marketing Director Libby Northcote-Green Marketing Manager

Damian Davis Transport Manager

Rachel Williams Publications Manager (maternity leave)

Madeleine Ridout Assistant Orchestra Personnel Manager

Sarah Breeden Publications Manager (maternity cover)

16 | London Philharmonic Orchestra

Samantha Cleverley Box Office Manager (Tel: 020 7840 4242) Anna O’Connor Marketing Co-ordinator Natasha Berg Marketing Intern

Matthew Freeman Recordings Consultant Public Relations