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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†

CONGRESS THEATRE, EASTBOURNE Sunday 13 February 2011 | 3.00pm

CONTENTS 2 3 4 5 8 9 10 11 12

NICHOLAS MILTON conductor HAOCHEN ZHANG piano

WEBER Overture, Der Freischütz

PROGRAMME £2.50

List of Players Nicholas Milton Haochen Zhang Programme Notes Recordings Congress Theatre Orchestra History Supporters Administration

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

(10’)

TCHAIKOVSKY Concerto No. 1 in B flat minor for piano and orchestra (33’) INTERVAL BRAHMS Symphony No. 1 in C minor

†

(45’)

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL.

supported by Macquarie Group

Ticket Office 01323 412000 www.eastbournetheatres.co.uk

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LONDON PHILHARMONIC ORCHESTRA

Chair supported by Richard Karl Goeltz

Geoffrey Lynn Yang Zhang Alain Petitclerc Peter Nall Galina Tanney Joanne Chen Caroline Sharp Ishani Bhoola 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 Andrew Thurgood Heather Badke Alison Strange Mila Mustakova Sheila Law VIOLAS Robert Duncan Principal Katharine Leek Benedetto Pollani Isabel Pereira Sarah Malcolm Martin Fenn Rebecca Carrington Miranda Davis

CELLOS Francis Bucknall Principal Jonathan Ayling Chair supported by Caroline, Jamie and Zander Sharp

Sue Sutherley Susanna Riddell Tom Roff Rosie Banks Tae-Mi Song DOUBLE BASSES Laurence Lovelle Principal George Peniston Tom Walley Helen Rowlands Lowri Morgan FLUTES Laura Lucas Guest Principal Joanna Marsh

HORNS Phillip Eastop Guest Principal Martin Hobbs Nicolas Wolmark Gareth Mollison Stephen Nicholls TRUMPETS Paul Beniston* Principal Anne McAneney* Chair supported by Geoff and Meg Mann

TROMBONES David Whitehouse Principal Andrew Connington BASS TROMBONE Lyndon Meredith Principal TIMPANI Simon Carrington* Principal

OBOES Steven Hudson Guest Principal Sue Bohling Chair supported by Julian and Gill Simmonds

CLARINETS Katie Lockhart Guest Principal Emily Meredith BASSOONS Gareth Newman* Principal Graham Hobbs CONTRA BASSOON Simon Estell Principal * 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 The Tsukanov Family

2 | London Philharmonic Orchestra

Patrick Harrison

FIRST VIOLINS Pieter Schoeman* Leader Artem Kotov Katalin Varnagy 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 CoConcertmaster 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. This season he will lead the Rotterdam Philharmonic Orchestra on several occasions. He teaches at Trinity College of Music.

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NICHOLAS MILTON CONDUCTOR

Music Director of the Jena Philharmonic in Germany from 2004 to 2010 and Chief Conductor and Artistic Director of the Canberra Symphony Orchestra since 2007, Nicholas Milton has established a reputation as one of the leading Australian conductors of his generation. His highly acclaimed debut with the Dortmund Philharmonic in 2008 was followed in quick succession by numerous prestigious invitations including his debuts with the London Philharmonic Orchestra, NDR Radio Philharmonie Hannover, SWR Radio Symphony Stuttgart, the orchestras of Wiesbaden, Mannheim and Darmstadt, Orchestra della Svizzera Italiana, Odense Symphony, Orchestre Philharmonique de Nice and the China National Symphony Orchestra. He also made his debut in 2010 at Vienna’s Musikverein with the Tonkünstler Orchestra.

Nicholas Milton is a devoted interpreter of opera with an extensive repertoire. Recent theatre credits include productions of Die Fledermaus at the Volksoper Vienna, The Magic Flute in Innsbruck, Carmen in Mainz, Don Giovanni in Leipzig, and performances of Così fan tutte, Le nozze di Figaro and Hänsel und Gretel in Jena. In 2009 he led the acclaimed new production of Henze’s ballet Undine in Rostock. As a guest conductor for Opera Australia, Opera Queensland and as Artistic Director of the Bel Canto Opera Company in South Australia he has conducted Carmen, Il barbiere di Siviglia, La traviata, Il trovatore, Rigoletto, L’elisir d’amore, Don Pasquale, La Bohème, Madama Butterfly, Manon Lescaut and Don Giovanni. He was Assistant to Jeffrey Tate for the State Opera of South Australia’s acclaimed Ring Cycle in 2001 and for Parsifal in 2003. Milton’s symphonic repertoire is exquisitely diversified, ranging from early Viennese classics through to modern repertoire of the most dense complexity. Also an international advocate for contemporary Australian orchestral music, Milton has conducted numerous world and European premières of works by Peter Sculthorpe, Richard Meale, Ross Edwards, Elena KatsChernin, Graeme Koehne, Nigel Westlake, Carl Vine and Matthew Hindson.

Originally a violinist, Nicholas Milton was Concertmaster of the Adelaide Symphony Orchestra (1996-2002) and violinist with the Macquarie Trio (1998-2005). He studied at the Sydney Conservatorium of Music, Michigan State University, the Mannes College Future orchestral highlights include return visits to the of Music and the Juilliard School. He holds Master’s London Philharmonic Orchestra, Dortmund Philharmonic and Brabants Orkest as well as his debuts degrees in violin, conducting, music theory and philosophy, and a doctorate in music from the City with the Stuttgart Philharmonic, Deutsche Radio University of New York. Mentored at the Sibelius Philharmonie Saarbrücken, Staatsphilharmonie Academy in Helsinki by Jorma Panula, he won the 1999 Rheinland-Pfalz, Bruckner Orchestra Linz, Staatskapelle Symphony Australia Conductor of the Year Competition Halle, Junge Norddeutsche Philharmonie, L’Orchestre Symphonique de Mulhouse and Philharmonia Taiwan. In and was a prizewinner in the Matacic International 2011 he will conduct Carmen at the Volksoper Vienna, Competition for Young Conductors. the new production of La fanciulla del West in Innsbruck and the revival of Die Fledermaus at the Komische Oper In 2001, Nicholas Milton was awarded the Australian Berlin followed by the revival of Le nozze di Figaro at the Centenary Medal for Service to Australian Society and Volksoper Vienna in 2012. the Advancement of Music.

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HAOCHEN ZHANG PIANO

Haochen Zhang gave his debut recital at the Shanghai Concert Hall at the age of five, performing the complete Bach Two-Part Inventions as well as sonatas by Haydn and Mozart. His orchestral debut was made at the age of six and he was awarded first prize at the Shanghai Piano Competition at the ages of seven and nine. In 2004, he made his debut at the 59th International Chopin Festival in Duszniki, Poland, performing the complete Chopin Etudes, Op. 25.

In June 2009, Haochen Zhang became one of the youngest participants and the first Chinese pianist to be awarded the prestigious Nancy Lee and Perry R. Bass Gold Medal at the Thirteenth Van Cliburn International Piano Competition. Immediately following the Competition, Zhang embarked on a worldwide sixtydate tour over the 2009/2010 season, with engagements that included a tour of Poland, recitals in Krakow and Lodz, concerts at the Beijing Music Festival, the Worldwide Chinese Festival Orchestra’s New Year Concert at the National Centre for the Performing Arts in Beijing, Carnegie Hall’s Neighborhood Concert Series, Aspen Festival, Washington Performing Arts Series, and the Hannover Prize Winners Series. His Hannover debut was a great success and led to immediate recital invitations from Munich, Berlin, Ludwigshafen and Paris. This season and next, Haochen has also been invited to perform with orchestras such as the Philadelphia, Israel Philharmonic, Hong Kong Philharmonic, Krakow Philharmonic and Belgrade Philharmonic.

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In 2005, Haochen Zhang moved to the United States to attend the Curtis Institute of Music and to study under world renowned pianist Gary Graffman. The following year, he made his debut with the Philadelphia Orchestra performing Rachmaninov’s Second Piano Concerto. In 2007, Haochen Zhang was the youngest winner of the China International Piano Competition and in 2008 at the age of eighteen, he made his Carnegie Hall debut with the New York Youth Symphony Orchestra performing Mozart’s D minor Concerto K466 and the world première of a commission by Ryan Gallagher.

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PROGRAMME NOTES

SPEEDREAD We begin this afternoon with the very essence of German romanticism, the overture to Weber’s opera about a marksman who had to win a shooting competition to get the girl he loved, and unwisely sought the Devil’s help in casting magic bullets. The centrepiece of our concert is perhaps the best loved of all the great romantic piano concertos, Tchaikovsky’s Concerto in B flat minor. Curiously the big tune that occupies the first part of the opening movement is not heard again. But Tchaikovsky has plenty more to fill a brilliantly orchestrated work that brims with rhythmic vitality. The second movement begins and ends as a

Carl Maria von WEBER

simple Andantino. Inserted into the middle, however, is a swift scherzo in which the pianist sets playful figures against an old French melody. The finale is a fiery rondo with three themes. Brahms toiled many years over his First Symphony but ultimately triumphed with it. The first movement is strenuous and tragic, the second brings a vision of peace and the third is an easy-going intermezzo. The finale begins in tragic vein, but a horn call breaks through like sunshine and a celebrated C major tune sweeps the symphony to a gloriously happy climax. © Eric Mason

OVERTURE, DER FREISCHÜTZ

1786-1826

Weber’s Der Freischütz received an immensely successful first performance on 18 June 1821 in Berlin, and was taken up throughout Germany. Its romanticism was exactly to the popular taste of the period, and the charm exerted by the melodious music has kept the opera in the international repertory. Set in the forests of 17th-century Bohemia, the opera tells the story of Max, a marksman, who enlists the aid of the Devil to cast magic bullets. These, he hopes, will enable him to win a shooting competition and marriage to Agathe, the girl he loves. The opera’s title is sometimes translated as The Marksman, but there is no exact English equivalent and the German title is usually retained even when the opera is sung in English. The overture draws its themes from the opera. In the opening Adagio Weber evokes the mysterious

atmosphere of the forest and reminds us in the passage for horns that the story concerns a hunting community. Low clarinets and strings introduce the sinister figure of Zamiel, the personification of the Devil as a wild huntsman who inhabits the Wolf’s Glen. The following Allegro is based on the storm music in the glen scene, where magic bullets are cast at dead of night. The clarinet, an instrument much favoured by Weber, anticipates Max’s cry of horror on looking down into the glen. The gloom is dispersed by the melody of Agathe’s famous aria, Leise, leise (Softly, softly), which vies with the previous theme in the development and reprise. Zamiel’s theme reappears towards the end, but true love wins through with a joyful peroration on Agathe’s greeting to her lover. © Eric Mason

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PROGRAMME NOTES

Peter Ilyich TCHAIKOVSKY 1840-1893

One of Tchaikovsky’s worst disappointments was on Christmas Eve 1874, when he took his new First Piano Concerto to Nicholas Rubinstein, the greatest Russian pianist of the day, for a professional opinion of the solo part. According to the composer, Rubinstein declared that apart from two or three pages the work was worthless, the piano part being clumsy beyond correction. The deeply wounded composer completed the orchestration the following February and dedicated the concerto as it stood to Hans von Bülow, who found it ‘perfect and mature in form and full of style’ and gave the successful first performance the same year in Boston. Rubinstein recanted and became a distinguished exponent of the concerto shortly before his death in 1881. However, Tchaikovsky extensively revised the solo part in 1889. The striking melodies, rhythmic vitality and brilliant orchestration have long made this one of the most popular concertos of all. It is curious that the big, romantic tune that occupies the first quarter of the opening movement has no audible connection with anything that follows. Fortunately Tchaikovsky’s powers of melodic invention were so strong that he could afford to discard a winning tune unexpectedly early on. The nature of the duel between soloist and orchestra is indicated by the opening challenge in B flat minor from unison horns backed by crashing orchestral chords. The pianist accepts the challenge, replying in D flat (the related major key) with emphatic rising chords, which become an accompaniment to the famous string tune. The soloist takes over the tune, but soon digresses into a cadenza, after which the strings run through the D flat tune with a more elaborate piano accompaniment. All this proves to have been an extensive introduction to

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CONCERTO NO. 1 IN B FLAT MINOR FOR PIANO AND ORCHESTRA, OP. 22 HAOCHEN ZHANG piano Allegro non troppo e molto maestoso – Allegro con spirito | Andantino semplice – Prestissimo – Tempo primo | Allegro con fuoco

the first movement proper, which now begins Allegro con spirito with a B flat minor folk tune introduced by the soloist. Strenuous octaves on the piano lead to a second-subject group consisting of two lyrical themes, the first given out by a clarinet and the second by soft muted strings. After some elaboration of these the muted string theme opens the development section, which combines elements of the first subject with modified forms of the second group. The recapitulation is interrupted by the soloist’s main cadenza, after which the muted string theme reappears on flute and clarinet to launch a brilliant coda. The Andantino semplice, a combination of slow movement and scherzo, begins with a gentle flute tune in D flat suited to repetition and modest elaboration in varied instrumental colours. Two subsidiary themes are introduced as the music modulates through F to D. In the middle of the movement the tempo increases to Prestissimo for the interpolated scherzo, in which an old French chansonette on violas and cellos is set against playful figuration from the pianist. A piano cadenza leads back to a varied reprise of the opening tune. ‘With fire’ is the composer’s instruction for the rondo finale, which begins in the home key with two dance tunes. The soloist announces the first, which is of Ukrainian origin. The equally emphatic second tune is given to the orchestra. A third, which follows immediately on the violins and then the piano, is at first tenderly romantic, but later, after further consideration of all three themes and a display of double octaves by the pianist, it swells grandly in a peroration for piano and full orchestra. The initial dance music then returns briefly to wind up the concerto. © Eric Mason

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PROGRAMME NOTES

INTERVAL 20 minutes A bell will be rung 3, 2 and 1 minute before the end of the interval.

Johannes BRAHMS

SYMPHONY NO. 1 IN C MINOR, OP. 68 Un poco sostenuto – Allegro | Andante sostenuto | Un poco allegretto e grazioso | Adagio – Allegro non troppo ma con brio

1833-1897

When the 20-year-old Brahms met Robert and Clara Schumann in 1853 and played them the powerful piano sonatas he had written, the older composer at once publicly hailed the arrival of a new master. Recognising the young man’s grasp of large-scale composition, he called the sonatas ‘veiled symphonies’. But 23 years were to elapse before Brahms completed his first symphony, for as time passed and ever greater expectations were heaped on his shoulders, he became more and more determined to release nothing that did not satisfy his highly self-critical judgement. Over a would be composer of symphonies in the middle of the 19th-century the shadow of Beethoven loomed oppressively. As late as 1870 Brahms complained to a friend: ‘You don’t know what it feels like to be dogged by that giant’. His first intended symphony, a reworking of a two-piano sonata he had played with Clara Schumann in 1853, eventually emerged – in part – as the D minor Piano Concerto of 1859. Brahms then turned his thoughts to a C minor symphony, and in 1862 he sent Clara a draft of the first movement, which began with what is now the opening of the Allegro. Nothing more was heard of the work for some years, but in 1868 Brahms sent Clara the horn tune from the finale. The spur to finish the symphony was applied by the success of the St Anthony Variations in 1873. Philipp Spitta wrote to the composer: ‘After this incomparable achievement in the field of orchestral composition your admirers will renew all the more intensely their long-cherished wish for a symphony’. Brahms completed the work in the autumn of 1876 but was still not wholly satisfied. The eve of the first performance, which took place on 4 November in

Karlsruhe under Otto Dessoff, found him shortening the two middle movements. Further performances under the composer’s direction quickly followed in Mannheim, Munich, Vienna and Leipzig, and Joachim conducted the British première in Cambridge the following March. Being clearly Beethovenian in strength and scale, the new symphony was admiringly nicknamed ‘The Tenth’, but Brahms hated having that kind of greatness thrust upon him. He disliked still more those who remarked upon a similarity between the big C major tune of his finale and the Ode to Joy in Beethoven’s Ninth Symphony. When someone said it was extraordinary that there should be this similarity, he gruffly replied: ‘And still more extraordinary that any fool can see that’. In fact, the two composers’ procedures were not alike; where Beethoven developed great structures from pregnant motives, the essentially romantic Brahms more often began with richly harmonised melodies from which motives could be extracted for development. The slow, tense introduction, a late addition to the plan of the symphony, sets the tragic mood. Over a throbbing C on drums and basses the violins strive upwards while woodwind, horns and violas descend gloomily in a sequence of thirds that will reappear later as a kind of motto. A dropping seventh followed by a dropping sixth, a swaying string passage and an oboe solo echoed by the cellos complete the source materials to be developed in the ensuing Allegro, which takes as first subject a speeded-up version of the introduction’s opening and the seventh-and-sixth idea. The second subject, introduced by the oboe, is related to the latter,

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PROGRAMME NOTES

and there is a vigorous third subject, which is an inversion of the first. After a strenuous development and recapitulation the introduction’s throbbing drums return in the coda, but the ending suggests quiet resignation. In contrast to this nervous tension the E major slow movement is a vision of peace. After two lyrical themes, the first on the strings and the second on the oboe, a passage for radiant high strings leads to a minor-key middle section with a new theme for solo oboe and clarinet in turn. Then the opening themes return, differently orchestrated and with new touches, culminating in a serene coda in which a solo violin leads the way. Instead of a scherzo for third movement Brahms offers a short, easy-going intermezzo with a flowing main tune introduced by a clarinet. The rhythm changes from 2/4 to 6/8 for the more energetic central section, after which the original theme returns in charmingly varied layout and the movement ends with a calm look back to the middle section.

Like the first movement the finale has a slow introduction, again tragic in character. Here we find the romantic artist in Brahms at the height of his powers. The violins begin an adagio minor-key melody, twice interrupted by a pizzicato attempt to increase the tempo. After the second interruption the violins swirl desperately. This leads to a thunderclap on the timpani, and at once, like sunshine breaking through clouds, the horns sound a chime-like call. The flutes take it over and the trombones pronounce a solemn benediction. Again the horn call is heard, this time leading to the famous C major tune for strings, a confident march-like melody that we now realise was what the violins were trying to introduce at the beginning. There follows a sonata-type exposition with an even happier second subject, several subsidiary themes and a reminder of the horn call. At the climax the trombone benediction reappears, now blazed forth as a triumphant peroration before the symphony rushes to its exultant end. © Eric Mason

RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL LPO-0043 Vladimir Jurowski conducts Brahms’s Symphonies Nos 1 and 2 ‘This pair of budget-priced CDs on the LPO’s own label demonstrate how, in the right hands, the first two symphonies can thrill and delight…exquisite wind playing…genuinely exciting.’ GRAHAM RICKSON, THE ARTS DESK, 22 FEBRUARY 2010

LPO-0039 Vladimir Jurowski conducts Tchaikovsky’s Symphonies Nos 1 and 6 ‘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

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CONGRESS THEATRE, EASTBOURNE ARTISTIC DIRECTOR CHRIS JORDAN GENERAL MANAGER GAVIN DAVIS

WELCOME TO THE CONGRESS THEATRE 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 all pagers, mobile phones or watches with 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 fourteenth 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 or write to Suzanne Hopp, Marketing Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

FUTURE CONCERTS Vladimir Jurowski and Jennifer Pike

Perry So and Valeriy Sokolov

Sunday 6 March 2011 | 3.00pm

Sunday 5 June 2011 | 3.00pm

Haydn Symphony No. 63 (La Roxelane) Mendelssohn Piano Concerto No. 1 Tchaikovsky Symphony No. 4

Wagner Overture, The Mastersingers Tchaikovsky Violin Concerto Weber Overture, Oberon Schumann Symphony No. 3

Vladimir Jurowski conductor Alon Goldstein piano Supported by donors to the 2010/11 Eastbourne Appeal

Sunday 17 April 2011 | 3.00pm Schubert Overture, Rosamunde Brahms Violin Concerto Tchaikovsky Symphony No. 6 (Pathétique) Wilson Hermanto conductor Jennifer Pike violin

Perry So conductor Valeriy Sokolov violin

TO BOOK Call the Ticket Office on 01323 412000 Credit Card Hotline 01323 411555 On-line booking www.eastbournetheatres.co.uk Tickets £12 | £19 | £22 | £24 Premium Seats £28

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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

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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 Christmas choral music conducted by Vladimir Jurowski, Bruckner’s Symphony No. 6 conducted by Christoph Eschenbach, Verdi’s Requiem conducted by Jesús López-Cobos, Holst’s The Planets conducted by Vladimir Jurowski and Elgar’s Symphony No. 1 and Sea Pictures with Vernon Handley and Janet Baker. 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. www.lpo.org.uk

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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

Guy & Utti Whittaker

Mr Daniel Goldstein Mrs Barbara Green Oliver Heaton 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

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

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

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

Ken Follett 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 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 Jonathan & Jeniffer Harris Trust Capital Radio’s Help a London Child The Idlewild Trust The Emmanuel Kaye 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 FelixMendelssohn-Bartholdy Foundation The Mercers’ Company Adam Mickiewicz Institute Paul Morgan Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The R K Charitable Trust Serge Rachmaninoff Foundation The Reed Foundation The Rubin Foundation The Seary Charitable Trust The Samuel Sebba Charitable Trust Sound Connections The Stansfield Trust The Steel Charitable Trust The Bernard Sunley Charitable Foundation The Swan Trust John Thaw Foundation The Underwood Trust Garfield Weston Foundation Youth Music and others who wish to remain anonymous. London Philharmonic Orchestra | 11

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