11June - Brighton LPO

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Principal Conductor VLADIMIR JUROWSKI Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader PIETER SCHOEMAN Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER

AM†

CONCERT HALL, BRIGHTON DOME Saturday 11 June 2011 | 7.30pm

PROGRAMME £2.50 CONTENTS 2 3 4 5 8 9 10 11 12

DMITRY SITKOVETSKY conductor YAN LEVIONNOIS cello

TCHAIKOVSKY Symphony No. 1 in G minor (Winter Daydreams)

(43’)

List of Players Dmitry Sitkovetsky Yan Levionnois Programme Notes Recordings Orchestra History Brighton Dome Supporters Administration

The timings shown are not precise and are given only as a guide.

INTERVAL DVOŘÁK Concerto in B minor for cello and orchestra

†

(40’)

supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA WITH ASSISTANCE FROM BRIGHTON DOME

Ticket Office 01273 709709 www.brightondome.org

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LONDON PHILHARMONIC ORCHESTRA

Chair supported by Richard Karl Goeltz

Geoffrey Lynn Robert Pool Sarah Streatfeild Rebecca Shorrock Peter Nall Galina Tanney Joanne Chen Geoffrey Silver Ishani Bhoola Catherine Van De Geest SECOND VIOLINS Clare Duckworth Principal Chair supported by Richard and Victoria Sharp

Joseph Maher Kate Birchall Chair supported by David and Victoria Graham Fuller

Nancy Elan Fiona Higham Marie-Anne Mairesse Ashley Stevens Andrew Thurgood Imogen Williamson Sioni Williams Heather Badke Alison Strange VIOLAS Tom Dunn Guest Principal Katharine Leek Benedetto Pollani Laura Vallejo Michelle Bruil Alistair Scahill Sarah Malcolm Anthony Byrne Karin Norlen Rachel Benjamin

CELLOS Susanne Beer Principal Francis Bucknall Laura Donoghue Gregory Walmsley Sue Sutherley Susanna Riddell Tom Roff Pavlos Carvalho DOUBLE BASSES Laurence Lovelle Principal George Peniston Tom Walley Lowri Morgan Catherine Ricketts Damian Rubido Gonzalez FLUTES Stewart McIlwham* Principal Joanna Marsh

TRUMPETS Paul Beniston* Principal Anne McAneney* Chair supported by Geoff and Meg Mann

TROMBONES Mark Templeton* Principal David Whitehouse BASS TROMBONE Lyndon Meredith Principal TUBA Lee Tsarmaklis Principal TIMPANI Simon Carrington* Principal PERCUSSION Keith Millar Principal Ignacio Molins

PICCOLO Francis Nolan Guest Principal OBOES Steve Hudson Guest Principal Sue Bohling Chair supported by Julian and Gill Simmonds

CLARINETS Robert Hill* Principal Nicholas Carpenter BASSOONS John Price Principal Simon Estell HORNS John Thurgood Guest Principal Martin Hobbs Adrian Uren Gareth Mollison Nicolas Wolmark * Holds a professorial appointment in London

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Andrew Davenport John and Angela Kessler Caroline, Jamie and Zander Sharp The Tsukanov Family

2 | London Philharmonic Orchestra

Patrick Harrison

FIRST VIOLINS Pieter Schoeman* Leader Katalin Varnagy Catherine Craig Martin Höhmann

Pieter Schoeman was appointed Co-Leader of the London Philharmonic Orchestra in 2002 and Leader in 2008. Born in 1969 in South Africa he made his debut at the age of ten with the Cape Town Symphony Orchestra.

Since then he has performed as 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 Wigmore Hall, London. He has also played extensively on radio and television in the United States, Russia, South Africa, China and the UK. In 1995, he became Co-Concertmaster of the Orchestre Philharmonique de Nice in France and has also performed as Guest Concertmaster with the symphony orchestras of Barcelona, Bordeaux, Lyon and Baltimore as well as with the BBC Symphony Orchestra. He teaches at Trinity College of Music.

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DMITRY SITKOVETSKY CONDUCTOR

J. Henry Fair

Festival, ‘The Silk Route of Music’ Festival in Azerbaijan, and in May 2007, was Artist-in-Residence at the Bodensee Festival in Germany.

Dmitry Sitkovetsky is an artist whose creativity defies categorising. He has built up an active and successful career as a violinist, conductor, arranger, chamber musician and festival director. He has performed as a soloist with a number of the world’s leading orchestras including the Berlin Philharmonic, New York Philharmonic, Leipzig Gewandhaus, Concertgebouw and NHK Orchestras as well as all the major London orchestras. He has performed at a number of highprofile festivals including Salzburg, Lucerne, Edinburgh and Verbier.

Sitkovetsky has built a flourishing career as a conductor.

He was Principal Conductor and Artistic Adviser of the Ulster Orchestra from 1996 to 2001 and subsequently made Conductor Laureate, and was Principal Guest Conductor of the Russian State Orchestra from 2002 to 2005. From 2006 to 2009, he was Artist-in-Residence of the Orquesta Sinfonica de Castilla y Leon in Spain and in 2003, he was appointed Music Director of the Greensboro Symphony Orchestra, a position he holds to this day. As a guest conductor, he has worked with leading orchestras including the London Philharmonic, Royal Philharmonic, Academy of St Martin in the Fields, San Francisco Symphony, Seattle Symphony, Dallas Symphony, Ensemble Orchestral de Paris, Accademia Nazionale di Santa Cecilia and St Petersburg Philharmonic.

He has an active and varied recording career with an extensive discography which includes all the major violin concertos and numerous chamber music works as well as orchestral recordings that he has conducted. In July 2010, Hänssler Classic released a boxed set of the complete Mozart Violin Sonatas with Antonio Pappano and Konstantin Lifschitz.

As part of his increasing involvement in contemporary music, he has premièred violin concertos written for him by John Casken in 1995 and Krzystof Meyer in 2000, and often performs works by Dutilleux, Penderecki, Schnittke, Pärt and Shchedrin.

Current engagements include conducting the Komische Oper Berlin Orchestra, Weimar Staatskapelle, New Zealand Symphony Orchestra, Tasmanian Symphony Orchestra and Tenerife Symphony Orchestra. Concerto engagements will take him to the Seattle Symphony, Concertgebouw, Royal Danish Opera, Czech Philharmonic, Berlin Symphony, Vienna Symphony, NHK Symphony and Hamburg Philharmonic Orchestras. He gives recitals in Seattle, Brussels, Seville, Cape Town and Wigmore Hall. Playing/directing engagements include performances with the Netherlands Radio Chamber Orchestra, Tokyo Metropolitan Orchestra, Symphony Orchestra of New Russia, Minnesota Orchestra, Tonkünstler Orchestra, Württembergisches Kammerorchester Heilbronn, Beethoven Orchestra Bonn and the San Francisco Symphony Orchestra’s prestigious New Year’s Eve concert.

Since 1987 he has resided in London with his wife, Susan, and their daughter, Julia.

Dmitry Sitkovetsky is also the founding director of the New European Strings Chamber Orchestra which is formed from distinguished string players from Eastern and Western Europe. Between 1983 and 2002 he was Artistic Director of a number of music festivals including the Korsholm Music Festival, Seattle International Music

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YAN LEVIONNOIS CELLO

As a chamber musician, he has played with Augustin Dumay, Svetlin Roussev, Gérard Caussé, Frank Braley, David Guerrier, Zakhar Bron, Nelson Goerner and the Ebène Quartet.

This season he was selected to participate in the Spark of Cultures programme, and played in this context in Central America.

He plays a cello made by Patrick Robin in 2005.

Born in 1990, Yan Levionnois started to study the cello with his father, a cellist with the Orchestre Philharmonique de Radio France. He later studied with Xavier Richard and Marc Coppey, and in 2006 joined the class of Philippe Muller at the Paris Conservatoire, where he obtained a First Prize in 2009. In addition he received advice from Natalia Shakhovskaya, Natalia Gutman, Gary Hoffman and Jean-Guihen Queyras.

He won First Prize at the International André Navarra Competition in 2008, First Prize at the Rostropovich Competition in London in 2009, and the Prize for the best interpretation of French music as well as the Prize for the ‘most remarkable personality’ at the Rostropovich Competition in Paris in 2009.

Yan Levionnois has appeared as a soloist in concertos by Haydn, Schumann, Dvořák, Lalo and Elgar as well as in Shostakovich’s Concertos Nos 1 and 2 and Saint-Säens Concerto No. 1. He has played with the Orchestre National du Capitole de Toulouse and the Symphony Chamber Orchestra of Prague and performed Pierre Boulez’s Messagesquisse with the cello ensemble of the Orchestre de Paris.

He has played at Wigmore Hall and has participated in festivals at Bel-Air, Cordes and Deauville, as well as at the Musical Encounters Santander Festival Pablo Casals in Prades and the Folles Journées de Nantes.

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PROGRAMME NOTES

SPEEDREAD Easily demoralised by criticism, Tchaikovky in his middle twenties had a long, hard struggle to complete his First Symphony, sub-titled Winter Daydreams. But the first performance was warmly received, and when the final version came out fifteen years later, the composer admitted to having a soft spot for it. He called it ‘a sin of my sweet youth’. The first of four movements begins and ends quietly, but there are fanfares that look forward to the Fourth and Fifth Symphonies. The slow second movement is based on a tune introduced as an oboe solo.

A graceful scherzo follows. The finale has a sombre introduction based on a folk tune, but generates much energy to reach a brilliant conclusion.

Pyotr Ilyich TCHAIKOVSKY 1840-1893

The first of Tchaikovsky’s compositions to achieve a public performance was an orchestral Overture in F, and its success when Nicholas Rubinstein conducted it in Moscow in March 1866 prompted Rubinstein to suggest that the composer should write a symphony.

Tchaikovsky started work at once but was demoralised when another composer, César Cui, denounced his cantata on Schiller’s Ode to Joy, which had been his graduation piece at the St Petersburg Conservatoire the previous year. ‘When I read this terrible judgement’, he said later, ‘I hardly knew what happened to me … I spent the entire day wandering aimlessly about the town repeating to myself: “I am sterile, I am a nonentity, nothing will ever come of me, I have no talent”.’

He persisted with the symphony, working day and night, but overwork caused a nervous breakdown. Despite hallucinations, a sense of dread and physical numbness

Dvořák composed his Cello Concerto in 1894-95 during his time teaching in New York. Vigorous, passionate, poetic and full of fine tunes, it can lay claim to being the finest of all concertos for that instrument. The disturbed middle section of the second movement is based on a song that was a favourite with Dvořák’s early love and eventual sister-in-law. She was gravely ill, and after he returned home from America Dvořák rewrote the ending of the concerto to include his nostalgic response to her death. © Eric Mason

SYMPHONY NO. 1 IN G MINOR, OP. 13 (WINTER DAYDREAMS) Reveries of a Winter Journey: Allegro tranquillo | Land of Desolation, Land of Mists: Adagio cantabile ma non tanto | Scherzo: Allegro scherzando giocoso | Finale: Andante lugubre – Allegro maestoso

in his limbs he continued composing, and that summer he showed the nearly completed work to his former teachers. After extensive revisions to meet their criticism the two middle movements were successfully performed under Rubinstein in St Petersburg the following February. Further amendments were made before Rubinstein conducted the first complete performance, which took place in Moscow in February 1868. It was warmly received. Six years later Tchaikovsky made more revisions and some cuts, and the final version was first performed in 1883.

In that year he wrote of the symphony: ‘Despite all its glaring deficiencies, I have a soft spot for it, for it is a sin of my sweet youth’. And to his benefactress, Nadezhda von Meck, he declared: ‘Although it is immature in many respects, it is essentially better and richer in content than many other more mature works’. The symphony is

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PROGRAMME NOTES

scored for a normal full orchestra with the trombones and tuba appearing only in the finale. If we are looking for influences on the young composer, the one that stands out in the first three movements is that of Mendelssohn. It is not in total a programme symphony, but the composer sub-titled it Winter Daydreams and gave the first two movements titles. The Allegro marking of the first movement is qualified by tranquillo, and the movement begins and ends quietly. But there are boisterous episodes and some brass fanfares that look forward to the Fourth and Fifth Symphonies. Flute and bassoon in octaves introduce the main theme, a tune of slightly folksong flavour, and the expressive second subject, another fully-fledged tune, follows (after the first fanfares) on solo clarinet. Although the structure of the movement betrays a certain awkwardness, the deft melodiousness and the composer’s skill in instrumentation go far to compensate.

Land of Desolation, Land of Mists is a counterpart to the slow movements of Mendelssohn’s Scottish and Italian Symphonies, though the melodic inspiration is clearly Russian. A long introduction precedes the tune upon which the rest of the movement is based. This is first heard as an oboe solo ornamented with flute scales –

another foretaste of the composer’s maturity – and counterpointed by a bassoon. The tune passes from one instrument and section of the orchestra to another, sustaining interest by resourceful variation of colour and context.

The light and graceful scherzo was adapted from the Piano Sonata in C sharp minor composed the preceding year. After the central trio section, a characteristic Tchaikovsky waltz tune, the scherzo material is repeated and the movement ends with all the airy elegance of Mendelssohn’s fairy music.

A genuine folk tune appears at the start of the finale, played first by bassoons and forming the basis of a sombre introduction. In more animated form it also supplies the second subject of the following Allegro maestoso, which generates considerable energy through successions of syncopated chords and fugal passages.

The slow introduction reappears towards the end, creating a feeling of suspense before the Allegro resumes to carry the symphony to a loud and brilliant conclusion. © Eric Mason

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

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PROGRAMME NOTES

Antonín DVOŘÁK 1841-1904

During his spell in New York as Director of the National Conservatory of Music (1892-95) Dvořák composed some of his most successful works, among them his symphony ‘From the New World’ and this concerto.

Brahms, on reading the concerto manuscript, exclaimed: ‘Why on earth didn’t I know that one could write a cello concerto like this? If I had only known, I would have written one myself long ago!’ Dvořák had already written one thirty years earlier at the age of 23, but in later years he did not consider the cello a natural solo instrument. The Concerto in B minor was written, he said, only because his cellist friend Hanuš Wihan asked for one. It is dedicated to Wihan.

However, the immediate urge to write the concerto followed the première in New York of one by the Irishborn cellist, conductor and composer, Victor Herbert, who was later famous for a successful string of Broadway musical comedies. The two had become friends, and Herbert rehearsed his concerto in the Czech’s New York apartment. Dvořák declared himself delighted with the two public performances he heard.

He composed his own concerto in New York between November 1894 and February 1895.

CONCERTO IN B MINOR FOR CELLO AND ORCHESTRA, OP. 104 YAN LEVIONNOIS cello Allegro | Adagio ma non troppo | Finale: Allegro moderato

19 March 1896. The soloist was not Wihan but Leo Stern (1862-1904). Dvořák also conducted his Eighth Symphony and several of his Biblical Songs, and the concert was a huge success.

The concerto opens with its main theme rather sombrely played on clarinets, after which the full orchestra seizes upon it decisively. A bridge passage leads to the second subject, a lovely melody initiated by a solo horn and continued by clarinet and oboe. A brilliant passage (which never returns) rounds off the orchestra’s exposition. The key modulates from D major to B minor for the soloist’s dramatic entry with a firm statement of the first subject, which continues with woodwind additions before the cello takes up the horn tune, again with comments from the woodwind. In the development the music modulates to remote A flat minor, and the cello offers a half-speed variant of the first subject over soft string tremolos. A short cadenza brings us to the recapitulation, which defies convention by opening not with the first subject but the second.

The cello immediately takes over and leads back to a grandioso final statement of the first subject.

After returning to Europe he rewrote the last sixty bars as a moving response to the death of his sister-in-law Josefina Kounicová. As a young man thirty years earlier he had fallen deeply but unrequitedly in love with Josefina, who eventually became a successful actress and married into the peerage. Dvořák meanwhile had transferred his affection to her sister Anna, whom he happily married.

For the slow movement Dvořák provides a wealth of thematic ideas, the first on clarinet before the soloist takes it up. The dramatic and restlessly pain-filled middle section is based on the opening phrase of Dvořák’s song Leave me alone, a favourite of Josefina’s.

(The composer knew by this time that she was gravely ill.) The horns have the main theme on its return, and there is a cadenza-like section for the cello before the coda, in which the flute refers back gently to the song theme.

London had the honour of the concerto’s first performance, which the composer himself conducted at a Philharmonic Society concert in Queen’s Hall on

The finale is equally rich in melody. The horns give out a march tune that develops into a rondo theme for the solo cello. There is an eloquent subsidiary theme and

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PROGRAMME NOTES

several episodes with fresh material before Dvořák seems to be on the point of rounding the concerto off.

But with Josefina in mind he embarks instead on a series of tender, nostalgic epilogues, punctuated by quiet clarinet recollections of the concerto’s opening

theme. The cello lingers dreamily until the orchestra breaks in to finish the concerto with a short burst of high spirits. © Eric Mason

RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

LPO-0042 Neeme Järvi conducts Dvořák’s Requiem with soloists Lisa Milne, Karen Cargill, Peter Auty, Peter Rose and the London Philharmonic Choir ‘Neeme Järvi leads a sturdy, evocative performance graced by gorgeous singing from the London Philharmonic Choir.’

JOSHUA KOSMAN, SAN FRANCISCO CHRONICLE, 7 MARCH 2010

LPO-0039 Vladimir Jurowski conducts Tchaikovsky’s Symphonies No. 1 (Winter Daydreams) and No. 6 (Pathétique) ‘Both are exceptional performances, superbly recorded with a breathtaking range of dynamics … In both works, the playing of the LPO is world class.’

ANDREW CLEMENTS, THE GUARDIAN, 4 SEPTEMBER 2009

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. CDs may also be purchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 020 7840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

8 | London Philharmonic Orchestra

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LONDON PHILHARMONIC ORCHESTRA

Seventy-eight years after Sir Thomas Beecham founded the London Philharmonic Orchestra, it is recognised today as one of the finest orchestras on the international stage.

Following Beecham’s influential founding tenure the Orchestra’s Principal Conductorship has been passed from one illustrious musician to another, amongst them Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. This impressive tradition continued in September 2007 when Vladimir Jurowski became the Orchestra’s Principal Conductor and, in a further exciting move, the Orchestra appointed Yannick Nézet-Séguin its new Principal Guest Conductor from September 2008.

The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It plays there around 40 times each season with many of the world’s most sought after conductors and soloists.

Concert highlights in 2010/11 include an exploration of Mahler’s symphonies and complete song cycles during the composer’s anniversary season; the premières of works by Matteo D’Amico, Magnus Lindberg and Brett Dean; a rare opportunity to hear Rossini’s opera Aureliano in Palmira in collaboration with long term partner Opera Rara; and works by the Orchestra’s new Composer in Residence, Julian Anderson.

In addition to its London season and a series of concerts at Wigmore Hall, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. It is unique in combining these concert activities with esteemed opera performances each summer at Glyndebourne Festival Opera where it has been the Resident Symphony Orchestra since 1964.

The London Philharmonic Orchestra performs to enthusiastic audiences all round the world. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring continues to form a significant part of the Orchestra’s schedule and is supported by Aviva, the International Touring Partner of the London Philharmonic Orchestra. Tours in 2010/11 include visits to Finland, Germany, South Korea, Spain, France, Belgium and Luxembourg.

Having long been embraced by the recording, broadcasting and film industries, the London Philharmonic Orchestra broadcasts regularly on domestic and international television and radio. It also works with the Hollywood and UK film industries, recording soundtracks for blockbuster motion pictures including the Oscar-winning score for The Lord of the Rings trilogy and scores for Lawrence of Arabia, The Mission, Philadelphia and East is East.

The London Philharmonic Orchestra made its first recordings on 10 October 1932, just three days after its first public performance. It has recorded and broadcast regularly ever since, and in 2005 established its own record label. The recordings on its own label are taken mainly from live concerts given with distinguished conductors over the years including the Orchestra’s Principal Conductors from Beecham and Boult, through Haitink, Solti and Tennstedt, to Masur and Jurowski.

Recent additions to the catalogue have included acclaimed releases of Klaus Tennstedt conducting Mahler’s Symphony No. 8 and a Shostakovich CD with Vladimir Jurowski conducting Shostakovich’s Piano Concertos Nos 1 and 2 and the Piano Quintet with Martin Helmchen. The Orchestra’s own-label CDs are also widely available to download. Visit www.lpo.org.uk/shop for the latest releases.

The Orchestra reaches thousands of Londoners through its rich programme of community and school-based activity in Lambeth, Lewisham and Southwark, which includes the offshoot ensembles Renga and The Band, its Foyle Future Firsts apprenticeship scheme for outstanding young instrumentalists, and regular family and schools concerts.

To help maintain its high standards and diverse workload, the Orchestra is committed to the welfare of its musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark.

There are many ways to experience and stay in touch with the Orchestra’s activities: visit www.lpo.org.uk, subscribe to our podcast series, download our iPhone application and join us on Facebook and Twitter.

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BRIGHTON DOME CHIEF EXECUTIVE ANDREW COMBEN

LONDON PHILHARMONIC ORCHESTRA’S 2011/12 SEASON AT BRIGHTON DOME

Ticket Office 01273 709709 www.brightondome.org

WELCOME TO BRIGHTON DOME We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following: LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks.

SMOKING Brighton Dome is a no smoking venue.

INTERVAL DRINKS may be ordered in advance at the bar to avoid queues.

PHOTOGRAPHY is not allowed in the auditorium.

Saturday 19 November 2011 | 7.30pm JOSÉ Suite, The Muleteer FALLA Nights in the Gardens of Spain FALLA Suites Nos 1 and 2, The Three-Cornered Hat MUSSORGSKY (orch. Ravel) Pictures at an Exhibition EDUARDO PORTAL conductor JAVIER PERIANES piano

Saturday 18 February 2012 | 7.30pm RACHMANINOFF Piano Concerto No. 2 KREISLER (arr. Rachmaninoff/orch. Leytush) Liebesleid RACHMANINOFF Symphony No. 2 NEEME JÄRVI conductor BORIS GILTBURG piano

RECORDING is not permitted in the auditorium.

MOBILES, PAGERS AND WATCHES should be switched off before entering the auditorium.

Thank you for your co-operation.

The concert at Brighton Dome on 11 June 2011 is presented by the London Philharmonic Orchestra with assistance from Brighton Dome.

Saturday 17 March 2012 | 7.30pm WEBER Overture, Oberon MENDELSSOHN Violin Concerto VAUGHAN WILLIAMS The Lark Ascending SIBELIUS Symphony No. 5 FABIEN GABEL conductor FANNY CLAMAGIRAND violin

Saturday 21 April 2012 | 7.30pm MENDELSSOHN Overture, Ruy Blas BEETHOVEN Piano Concerto No. 1 TCHAIKOVSKY Symphony No. 4 YAN PASCAL TORTELIER conductor HONG XU piano

Brighton Dome gratefully acknowledges the support of Arts Council England and Brighton & Hove City Council.

Brighton Dome is managed by Brighton Dome and Festival Ltd which also runs the annual three-week Brighton Festival in May. www.brightonfestival.org

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A brochure with full booking details is available in the foyer this evening.

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We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group Mr & Mrs Richard & Victoria Sharp Julian & Gill Simmonds The Tsukanov Family Garf & Gill Collins Andrew Davenport David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mrs Sonja Drexler Mr Charles Dumas David Ellen Commander Vincent Evans

Mr Daniel Goldstein Mrs Barbara Green Oliver Heaton Mr & Mrs Jeffrey Herrmann Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Marika Cobbold & Michael Patchett-Joyce Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough

Ken Follett Pauline & Peter Halliday Michael & Christine Henry Mr Glenn Hurstfield Mr R K Jeha Mr & Mrs Maurice Lambert Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh John Montgomery Edmund Pirouet Mr Peter Tausig Mrs Kazue Turner Lady Marina Vaizey Mr D Whitelock Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged.

Corporate Members Appleyard & Trew llp AREVA UK British American Business Brown Brothers Harriman Charles Russell Destination Québec – UK Diagonal Consulting Lazard Leventis Overseas Man Group plc Québec Government Office in London Corporate Donor Lombard Street Research In-kind Sponsors Google Inc Heineken The Langham London Lindt & Sprüngli Ltd Sela / Tilley’s Sweets Villa Maria Trusts and Foundations Allianz Cultural Foundation The Andor Charitable Trust Arts and Business Ruth Berkowitz Charitable Trust The Boltini Trust

Borletti-Buitoni Trust Britten-Pears Foundation The Candide Charitable Trust The John S Cohen Foundation The Coutts Charitable Trust The Delius Trust The Dorset Foundation The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Eranda Foundation The Ernest Cook Trust The Fenton Arts Trust The Foyle Foundation The Jeniffer and Jonathan Harris Charitable Trust Hattori Foundation for Music and the Arts Capital Radio’s Help a London Child The Idlewild Trust The Emmanuel Kaye Foundation The Kirby Laing Foundation The Leverhulme Trust Lord and Lady Lurgan Trust Maurice Marks Charitable Trust The Michael Marks Charitable Trust Marsh Christian Trust UK Friends of the Felix-MendelssohnBartholdy Foundation The Mercers’ Company

Adam Mickiewicz Institute Paul Morgan Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund Serge Prokofiev Foundation The R K Charitable Trust Serge Rachmaninoff Foundation The Reed Foundation The Rubin Foundation The Seary Charitable Trust The Samuel Sebba Charitable Trust The David Solomons Charitable Trust Sound Connections The Stansfield Trust The Steel Charitable Trust The Bernard Sunley Charitable Foundation The Swan Trust John Thaw Foundation The Thistle Trust The Underwood Trust Garfield Weston Foundation Youth Music and others who wish to remain anonymous.

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ADMINISTRATION

BOARD OF DIRECTORS

GENERAL ADMINISTRATION

ORCHESTRA PERSONNEL

ARCHIVES

Martin Höhmann Chairman Stewart McIlwham Vice-Chairman Sue Bohling Lord Currie* Jonathan Dawson* Gareth Newman George Peniston Sir Bernard Rix* Kevin Rundell Sir Philip Thomas* The Rt Hon. Lord Wakeham DL* Timothy Walker AM †

Timothy Walker AM † Chief Executive and Artistic Director

Andrew Chenery Orchestra Personnel Manager

Edmund Pirouet Consultant

Sarah Thomas Librarian

Philip Stuart Discographer

Michael Pattison Stage Manager

Gillian Pole Recordings Archive

*Non-Executive Directors

Alison Atkinson Digital Projects Manager FINANCE David Burke General Manager and Finance Director David Greenslade Finance and IT Manager CONCERT MANAGEMENT

THE LONDON PHILHARMONIC TRUST

Roanna Chandler Concerts Director

Pehr Gyllenhammar Chairman Desmond Cecil CMG Richard Karl Goeltz Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann Angela Kessler Clive Marks OBE FCA Victoria Sharp Julian Simmonds Timothy Walker AM † Laurence Watt

Ruth Sansom Artistic Administrator

AMERICAN FRIENDS OF THE LONDON PHILHARMONIC ORCHESTRA, INC. We are very grateful to the Board of the American Friends of the London Philharmonic Orchestra for its support of the Orchestra’s activities in the USA. PROFESSIONAL SERVICES Charles Russell Solicitors Crowe Clark Whitehill LLP Auditors Dr Louise Miller Honorary Doctor

Graham Wood Concerts, Recordings and Glyndebourne Manager Alison Jones Concerts Co-ordinator Jenny Chadwick Tours and Engagements Manager Jo Orr PA to the Executive / Concerts Assistant Matthew Freeman Recordings Consultant EDUCATION AND COMMUNITY PROGRAMME Patrick Bailey Education and Community Director

Camilla Begg Assistant Orchestra Personnel Manager Ken Graham Trucking Instrument Transportation (Tel: 01737 373305) DEVELOPMENT Nick Jackman Development Director Harriet Mesher Charitable Giving Manager Phoebe Rouse Corporate Relations Manager Melissa Van Emden Events Manager Laura Luckhurst Corporate Relations and Events Officer Elisenda Ayats Development and Finance Officer

www.lpo.org.uk Visit the website for full details of London Philharmonic Orchestra activities.

The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Photographs of Tchaikovsky and Dvořák courtesy of the Royal College of Music, London.

Photograph on the front cover

by Patrick Harrison.

Kath Trout Marketing Director

Programmes printed by Cantate.

Ellie Dragonetti Marketing Manager Helen Boddy Marketing Co-ordinator Frances Cook Publications Manager

Caz Vale Community Officer

Samantha Kendall Box Office Manager (Tel: 020 7840 4242) Ed Weston Intern Valerie Barber Press Consultant (Tel: 020 7586 8560)

12 | London Philharmonic Orchestra

89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242

MARKETING

Anne Findlay Education Manager

Richard Mallett Education and Community Producer

LONDON PHILHARMONIC ORCHESTRA

†Supported by Macquarie Group