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Principal Conductor and Artistic Advisor 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 17 March 2013 | 3.00pm

mark fitz-gerald conductor jarosŁAW nadrzycki violin

PROGRAMME £2.50 CONTENTS 2 Welcome 3 About the Orchestra 4 On stage today 5 Mark Fitz-Gerald 6 Jarosław Nadrzycki 7 Programme notes 11 Supporters 12 LPO administration The timings shown are not precise and are given only as a guide.

ireland A London Overture (13’) bruch Violin Concerto No. 1 in G minor, Op. 26 (23’) Interval sibelius Symphony No. 2 in D major, Op. 43 (44’)

Box Office: 01323 412000 eastbournetheatres.co.uk * supported by the Tsukanov Family Foundation and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL

Welcome

Welcome to the Congress Theatre, Eastbourne 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 17th 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 theatresmarketing@eastbourne.gov.uk or write to Suzanne Hopp, Marketing Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

Next London Philharmonic Orchestra concert at the Congress Theatre Sunday 19 May 2013 | 3.00pm Wagner Overture, Die Meistersinger Schumann Piano Concerto Wagner Siegfried Idyll Beethoven Symphony No. 5 Nicholas Collon conductor Benjamin Grosvenor piano

Nicholas Collon and Benjamin Grosvenor

‘Grosvenor’s performance was so alluring, so alive to the music’s poetry, so colourfully detailed.’ The Telegraph

Tickets £12–£28 | Box Office 01323 412000 Book online at eastbournetheatres.co.uk

2 | London Philharmonic Orchestra

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London Philharmonic Orchestra

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most adventurous and forward-looking orchestras. As well as giving classical concerts, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of Londoners every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and since then its Principal Conductors have included Sir Adrian Boult, Sir John Pritchard, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Vladimir Jurowski, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor.

The London Philharmonic Orchestra has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, East is East, Hugo, and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now nearly 70 releases available on CD and to download. Recent additions include Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Brahms’s Symphonies Nos. 1 & 3 with Klaus Tennstedt; a disc of orchestral works by Mark-Anthony Turnage; and the world premiere of the late Ravi Shankar’s First Symphony conducted by David Murphy. 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.

The Orchestra is Resident Orchestra at Southbank Centre’s Royal Festival Hall in London, where it has performed since it opened in 1951, giving around 40 The London Philharmonic Orchestra maintains an concerts there each season. 2012/13 highlights include energetic programme of activities for young people and three concerts with Vladimir Jurowski based around local communities. Highlights include the Deutsche the theme of War and Peace in collaboration with the Bank BrightSparks Russian National Orchestra; Series; the Leverhulme Kurt Weill’s The Threepenny The LPO’s playing throughout was Young Composers Opera, also conducted by Jurowski; 20th-century exceptional in its warmth, finesse project; and the Foyle Future Firsts orchestral American works with Marin and detail. The Guardian training programme Alsop; Haydn and Strauss (23 January 2013, Royal Festival Hall: Webern, Schoenberg and Mahler) for outstanding young with Yannick Nézet-Séguin; players. Over recent and the UK premiere of Carl years, developments in technology and social networks Vine’s Second Piano Concerto with pianist Piers Lane have enabled the Orchestra to reach even more people under Vassily Sinaisky. Throughout 2013 the Orchestra worldwide: all its recordings are available to download is collaborating with Southbank Centre on The Rest Is from iTunes and, as well as a YouTube channel, news Noise festival, based on Alex Ross’s book of the same blog, iPhone app and regular podcasts, the Orchestra name and charting the 20th century’s key musical has a lively presence on Facebook and Twitter. works and historical events. The Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency accompanying the famous Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra since 1964. The Orchestra also tours internationally, performing concerts to sell-out audiences worldwide. Tours in the 2012/13 season include visits to Spain, Germany, France, Switzerland, the USA and Austria.

Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

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On stage today

First Violins Philippe HonorĂŠ Guest Leader Geoffrey Lynn Yang Zhang Grace Lee Rebecca Shorrock Madeleine Easton Peter Nall Ishani Bhoola Robert Yeomans Maeve Jenkinson Amanda Lake Francesca Smith Second Violins Joseph Maher Principal Fiona Higham Ashley Stevens Kate Birchall Chair supported by David & Victoria Graham Fuller

Sioni Williams Alison Strange Peter Graham Mila Mustakova Elizabeth Baldey Stephen Dinwoodie

Violas Robert Duncan Principal Gregory Aronovich Katherine Leek Benedetto Pollani Laura Vallejo Alistair Scahill Daniel Cornford Sarah Malcolm Cellos Francis Bucknall Principal Gregory Walmsley Sue Sutherley Susanna Riddell Tae-Mi Song Sibylle Hentschel Double Basses Laurence Lovelle Principal George Peniston Kenneth Knussen Helen Rowlands

Flutes Ian Mullin Guest Principal Stewart McIlwham* Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick Principal Angela Tennick Clarinets Peter Sparks Guest Principal Paul Richards

Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Daniel Newell Trombones Mark Templeton* Principal Andrew Connington Bass Trombone Lewis Edney Tuba Lee Tsarmaklis* Principal

Bassoons Simon Estell Principal Susana Dias

Timpani Christopher Thomas Guest Principal

Horns John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Stephen Nicholls

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar * Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Sonja Drexler Moya Greene John & Angela Kessler Caroline, Jamie & Zander Sharp The Sharp Family Julian & Gill Simmonds

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Mark Fitz-Gerald conductor

Mark Fitz-Gerald studied at the Royal College of Music, where his professors included Norman Del Mar, and where he won all the major prizes for both orchestral and operatic conducting. It was during this time that Hans Werner Henze invited him to take part in the first Cantiere Internazionale d’Arte festival in Montepulciano, Italy, as a result of which he was invited regularly to Switzerland as Guest Conductor of the Basel Sinfonietta. From 1983–87 Mark was Artistic Director of the RIAS Jugendorchester, West Berlin, where his innovative ‘Filmharmonic’ concerts received much acclaim and were later made available on CD. He returned there to continue the series with the Berlin Rundfunkorchester in 1992. Since then, he has performed the very specialised task of accompanying silent films live with orchestra, with much success in many countries and festivals throughout the world. His performances of the Trauberg/Shostakovich classic New Babylon (1929) have received much critical acclaim; in particular the Japanese premiere of the work (the opening concert of the Tokyo Summer Music Festival 2000) and at the Rotterdam Gergiev Festival in 2001. With the help of Mrs Irina Shostakovich and Krzystof Meyer he has restored the complete score to another Trauberg/Shostakovich film, Odna (1929/31), and conducted the world premiere (the first Shostakovich premiere for over 20 years) in Holland and later in Paris, with enormous success. His restoration is now published in the new complete edition of the composer’s works, and he conducted the UK premiere at London’s Barbican in 2006. His accompaniment of the 1927 silent film Wings with Carl Davis’s score at the 2010 Pordenone Silent Film Festival was so successful that it led to an immediate reinvitation by the festival’s director, David Robinson. In 1986 Mark Fitz-Gerald was appointed Music Director of Kentish Opera, with whom he has conducted many successful productions. He has assisted regularly at the Vienna Staatsoper, as well as the Vienna Kammeroper, and in 1992 he made his debut at the Volksoper with The Cunning Little Vixen. In 1994 he conducted the world

premiere of an opera by the Mexican composer Victor Rasgado in Spoleto, Italy, in conjunction with the Italian producer Luca Ronconi. In the same year he conducted The Nutcracker for the Vienna Festival Ballet. He has collaborated with Annetta Hoffnung in many major ‘Gerard Hoffnung’ concerts in London (both at Royal Festival Hall and in the presence of the late Diana, Princess of Wales at the Barbican), as well as throughout Europe and Japan. He has worked regularly as Guest Conductor with Het Brabants Orkest (Holland), Polish National Radio Symphony Orchestra, Frankfurt Radio Symphony Orchestra, Bayerische Rundfunk Orchester, Komische Oper Berlin, Luzerner Sinfonieorchester, Staatsorchester Rheinische Philharmonie and the Staatsphilharmonie Rheinland-Pfalz. Other guest appearances have included the BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, Philharmonia Orchestra, National Symphony Orchestra, Northern Sinfonia, RTÉ Concert Orchestra (Dublin), Mitteldeutscher Rundfunk Sinfonieorchester (Leipzig), Radio-Sinfonieorchester (Stuttgart), Cologne Radio Symphony Orchestra, SWR Rundfunkorchester (Kaiserslauten), Kassel Stadttheater, Jena Philharmoniker, Limburgs Symphonie Orkest (Holland), New Japan Philharmonic Orchestra, Tokyo Philharmonic Orchestra, Orchestre National Bordeaux Aquitaine, the Fondazione Arturo Toscanini (Parma), Lausanne Opera and the Teatro Verdi Trieste. From 1989–93 he was Associate Conductor of the Orquestra do Porto (Orquestra Classica do Porto) in Portugal. He was Assistant Conductor in Strasbourg both at the Philharmonic Orchestra and at the Opéra du Rhin from 1997–2002. His CD recording of Odna was released in January 2008 and went immediately into the top five of the Naxos new release best-selling charts. Several other highly acclaimed world premiere Shostakovich recordings have since been issued, in particular the first version of the Ninth Symphony, made at the personal invitation of the composer’s widow. In 2012 Mark made his debut with the Orquesta Ciudad de Granada and the Malaysian Philharmonic Orchestra. During 2012 he also gave the Swiss premiere of Debussy’s opera The Fall of the House of Usher. Today’s concert is his debut with the London Philharmonic Orchestra.

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Jarosław Nadrzycki violin

Jarosław Nadrzycki was born in Żagań, Poland. At the age of 12, he made his Moscow debut with the Moscow Conservatoire Orchestra at the Tchaikovsky Conservatory Great Hall. In 2010, Jarosław won First Prize at the Aram Khachaturian International Violin Competition in Armenia, where one of the prizes was a performance with the Mariinsky Theatre Orchestra conducted by Valery Gergiev. He has also won First Prizes at the George Enescu International Competition in Bucharest (2009), the Valsesia Musica International Violin Competition in Italy (2009), and the Jascha Heifetz International Violin Competition in Vilnius (2001), as well as top prizes at the Max Rostal Competition in Berlin (2002), the Tibor Varga International Violin Competition in Switzerland (2004, 2006), the Henryk Wieniawski International Violin Competition in Poland (2006), the Haverhill Sinfonia Soloist Competition (2008), the Ruggiero Ricci International Violin Competition in Austria (2007), and the Benjamin Britten International Violin Competition in London (2008). Major influences on Jarosław have included working with Krzysztof Penderecki, Maxim Vengerov and, since 2007, his mentor Professor Igor Petrushevski. Jarosław has performed to great acclaim in the UK, the USA, Korea, Austria, Germany, Montenegro, Croatia, Switzerland, Italy, France, Russia, Lithuania, Venezuela and Finland. He has appeared with many renowned orchestras including the Royal Philharmonic, Hamburg Philharmonic, Vilnius State Philharmonic, Transylvania State Philharmonic and George Enescu Philharmonic orchestras; the Simón Bolívar, Slovak Radio and Zurich symphony orchestras; the Youth State Orchestra of Armenia; and the Polish Radio Chamber Orchestra. He has given concerts at London’s Cadogan Hall, Wigmore Hall and St John’s Smith Square, the Menuhin Hall, the Moscow Kremlin, the St Petersburg Conservatoire Hall, the Aram Khachaturian Philharmonic Hall, the Warsaw Philharmonic Hall, the Slovak 6 | London Philharmonic Orchestra

Philharmonic Hall, the Vienna Konzerthaus, the Mirabell Palace in Salzburg, the Romanian Atheneum in Bucharest, and the Tchaikovsky Conservatory Great Hall in Moscow. In 2011 Jarosław made his debut with the Simón Bolívar Symphony Orchestra in Caracas, Venezuela, under Krzysztof Penderecki. Following the huge success of this concert, he was immediately re-invited to perform the Beethoven Violin Concerto under Giancarlo Guerrero. The same year, to great acclaim, he performed the Sibelius Violin Concerto with Maxim Vengerov conducting, and the Bach Double Violin Concerto alongside Vengerov. Jarosław Nadrzycki’s recent highlights include a concert tour with the State of Mexico Symphony Orchestra under Enrique Bátiz. Later this month he will perform Penderecki’s second violin concerto, Metamorphosen, in three concerts with the MDR Sinfonieorchester under Kristjan Järvi as part of the 17th Beethoven Easter Festival in Poland. In June he will perform Khachaturian’s Violin Concerto at the Lutosławski Concert Studio in Warsaw, marking the 110th anniversary of the composer’s birth.

Programme notes

Speedread Today John Ireland’s name rarely appears in concert programmes, though at one time his Piano Concerto was regularly played at the Proms – 22 performances between 1930–59. His London Overture, originally a brass band piece, has a perky ‘Piccadilly’ tune, as well as dark or elegiac passages. Born in Cologne, Max Bruch composed prolifically from an early age, yet only one work – his First Violin Concerto – is truly a fixture in the repertoire. He struck gold with this Concerto, a work of great vitality, with memorable themes and some strikingly original features. Bruch also had a long career as a teacher – his pupils included Vaughan Williams – and was at one time the chief conductor of the Liverpool Philharmonic Orchestra. Among his other works the

John Ireland

best-known are the Scottish Fantasy for violin and orchestra and Kol Nidrei for cello and orchestra. The great Finnish composer Sibelius wrote his Second Symphony while feeling the benefit of a stay in Italy. Its highly original first movement begins in a way that Sibelius himself described: ‘It is as though the Almighty had thrown the pieces of a mosaic down from the floor of heaven and told me to put them together.’ The music of the slow movement, initially intended for a work on the theme of Don Juan, veers between melancholy, electrifying drama and consolation. The volatile scherzo leads directly to a finale that eventually culminates in a monumental, affirmative statement.

A London Overture

1879–1962

Ireland’s London Overture originated in 1934 as A Comedy Overture, written as a test-piece for the Crystal Palace Brass Band Competition. Two years later Adrian Boult suggested that the composer should rescore the Overture for symphony orchestra with a view to the imminent Promenade Concerts season. This new version – ‘entirely re-cast … virtually a new work’, wrote the composer – was premiered on 23 September that year. A slow introduction, rather dark and sinister, eventually dissolves into a short solo for clarinet. This leads to the main, fast section of the piece which begins with a jaunty tune for violins and violas. This theme has become associated with the bus-conductor’s cry

‘‘dilly, Piccadilly’, though Ireland was a little reluctant to acknowledge this as a source of inspiration. A subsequent, more expansive melody is introduced by the oboe. Music from the introduction returns, then a slower section with a deeply elegiac horn solo. This passage is connected with Percy G. Bentham, (‘sculptor and friend’, according to the memorial dedication in the score), who died after absorbing a toxic substance from his hat-band. Following the reprise of the quicker section, with the oboe melody now on the clarinet, Ireland allows his ‘Piccadilly’ tune to dominate the final rumbustious pages. Ireland wrote that he wished this Overture to be regarded as No. 4 of his London Pieces, the first three being the 1917/18 piano pieces Chelsea Reach, Ragamuffin and Soho Forenoons.

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Programme notes

Max Bruch 1838–1920

Unlike other composers of celebrated violin concertos – Beethoven, Brahms, Tchaikovsky and Sibelius among them – Max Bruch is virtually a ‘one-work composer’. Although his Scottish Fantasy for violin and orchestra and Kol Nidrei for cello and orchestra are occasionally performed, it was the first of his three violin concertos that made his name. Sadly, Bruch sold the work to his publishers for a one-off payment, thereby denying himself the handsome royalties that would have accrued from its immense popularity. While composing his First Violin Concerto, the selfdoubting Bruch anxiously consulted the great violinists Joseph Joachim and Ferdinand David. He wrote to the publisher Fritz Simrock: ‘It is a damned difficult thing to do ... I rewrote my concerto at least half a dozen times’. Over-familiarity with this Concerto may well allow us to forget the originality of the opening movement, unusually entitled Prelude. The Concerto begins with a quiet timpani roll and a simple woodwind phrase, followed by a brief, rhapsodic exchange between soloist and orchestra. A string tremolando, with an important rhythmic figure established in cellos and basses, then provides support for a declamatory passage for the violin. The distinctive rhythmic figure becomes more insistent, before a diminuendo prepares for the soloist’s introduction of a contrasting, lyrical second theme. Bravura figuration for the violin leads to an extended and vigorous orchestral passage in which the rhythmic figure is reinforced in more sustained note-values. A return to the opening phrases seems to herald an orthodox recapitulation, but here Bruch surprisingly substitutes a linking passage leading directly into the slow movement. Both this transition and the slow

Violin Concerto No. 1 in G minor, Op. 26 Jarosław Nadrzycki violin 1 Vorspiel (Prelude): Allegro moderato – 2 Adagio 3 Finale: Allegro energico

movement itself reveal the composer at his most lyrically inspired. Although there are three distinct themes, the deeply felt Adagio gives the impression of one continuous stream of melody. A quiet rhythmic figure on the timpani leads to a magical restatement of the opening theme in a distant key. Here an increasingly passionate and elaborate solo violin part dominates a passage that builds to a powerful orchestral climax, before the music eventually ebbs away in the final bars. This Adagio includes some of the most gloriously effective and gratifying violin-writing in the entire concerto repertoire. The strongly rhythmic character of the Finale provides contrast to the sumptuous melodic flow of the Adagio. An orchestral crescendo begins, with repeated anticipations of the first few notes of the main theme to come. Eventually the solo violin enters, playing this flamboyant theme in full. After some brilliant passagework for the soloist, the second theme is introduced – a broad, noble melody heard first in the orchestra then on the violin. Following a concise development and orthodox recapitulation, the coda accelerates towards a brilliant Presto with the soloist dominating throughout.

Interval – 20 minutes A bell will be rung 3, 2 and 1 minute before the end of the interval. 8 | London Philharmonic Orchestra

Jean Sibelius 1865–1957

From the potent romanticism of his First Symphony of 1899 to the compression of the Seventh Symphony of 1924, Sibelius progressively refined and concentrated his musical language. These seven symphonies, together with his Violin Concerto and some of the symphonic poems, form the basis of his reputation. In the first movement of the Second Symphony (completed in 1902) there are many signs of Sibelius’s highly individual approach to symphonic form. Here, instead of the usual first and contrasting second themes, a succession of melodic ideas unfolds in an easygoing and apparently spontaneous manner. Sibelius wrote: ‘It is as though the Almighty had thrown the pieces of a mosaic down from the floor of heaven and told me to put them together.’ Some of the themes – including the opening idea, which sounds like a mere accompaniment – do not assume their full stature until the development section later in the movement, when they undergo a type of character-transformation more common in Beethoven’s music. Sibelius’s subsequent recapitulation of the themes in a different order allows him to end by recalling the very opening, creating a satisfying ‘full-circle’ effect. The dramatic and episodic second movement, with its many tempo changes and fluctuations, incorporates musical ideas originating in a projected tone-poem on the subject of Don Juan. Sibelius’s own notes for this aborted work may be paraphrased: Don Juan sits in the twilight in his castle (pizzicato passage). A stranger enters. Don Juan repeatedly asks who he is, but there is no answer. Eventually the stranger breaks into song (lugubrious bassoon melody) and is then recognised as Death (first big climax).

Symphony No. 2 in D major, Op. 43 1 Allegretto 2 Tempo Andante, ma rubato 3 Vivacissimo – Lento e suave – 4 Finale: Allegro moderato

Above the consolatory melody for strings which follows a powerful fortissimo passage, Sibelius wrote ‘Christus’, referring to yet another aborted composition based on Dante’s Divine Comedy. The original Don Juan inspiration clearly left its mark on the atmosphere of this movement, yet the music itself is powerful enough without reference to any narrative. The third movement has the kind of fierce, volatile energy that characterises some of Beethoven’s scherzos. In complete contrast, the trio section is built around an expansive oboe melody marked Lento e suave. After the scherzo reprise the trio begins again, but now an accelerating bridge passage leads directly into the Finale. This is an early example of Sibelius’s mastery of the difficult art of transition between two movements of totally diverse character and tempo. The Finale’s broad main theme finally emerges – disarmingly simple, but given tremendous momentum by a rhythmic figure played by trombones and timpani, while tuba and double basses provide an extra ‘kick’ at the end of each bar. The extended second theme, prepared by a repeating scale-passage on violas and cellos, is a doleful melody introduced by the woodwind. Mostly derived from the first theme, the development section is driven by energetic string-writing, before a long crescendo heralds the recapitulation. Here the reprise of the second subject belatedly turns to D major for the Symphony’s affirmative, monumental conclusion in Sibelius’s most direct and unselfconscious manner. Programme notes © Philip Borg-Wheeler

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eastbourne

FESTIVAL arts & culture 30th March - 21st April 2013 www.eastbournefestival.co.uk

Three weeks of cultural activity around the town. Music, dance theatre, literature, comedy, visual arts and more!

The John Ireland Charitable Trust was established in 1968 to stimulate awareness of Irelandâ€™s life and music by supporting performances, recordings, publications and research. The Trust also sponsors John Ireland prizes in music colleges throughout the UK and overseas. Latest news, including details of forthcoming concerts of Irelandâ€™s music and information about the Trust, can be found at the website:

www.johnirelandtrust.org

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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 The Tsukanov Family Foundation Anonymous The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Moya Greene John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Manon Williams Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mr Charles Dumas David Ellen

Commander Vincent Evans Mr Daniel Goldstein Mr & Mrs Jeffrey Herrmann Peter MacDonald Eggers Don Kelly & Ann Wood Mr & Mrs David Malpas 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 Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Anthony Yolland Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Dennis Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry Ivan Hurry

Mr Glenn Hurstfield Mr R K Jeha Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Andrew T Mills John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Professor John Studd Mr Peter Tausig Mrs Kazue Turner Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK British American Business Destination Québec – UK Hermes Fund Managers Pritchard Englefield Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Lazard Leventis Overseas Corporate Donor Lombard Street Research Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Villa Maria

In-kind Sponsors Google Inc Sela / Tilley’s Sweets Trusts and Foundations BBC Performing Arts Fund The Boltini Trust Sir William Boreman’s Foundation The Boshier-Hinton Foundation Britten-Pears Foundation The Candide Trust The Coutts Charitable Trust Diaphonique, Franco-British fund for contemporary music Dunard Fund Embassy of Spain, Office for Cultural and Scientific Affairs The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust Capital Radio’s Help a London Child The Hobson Charity The Kirby Laing Foundation

The Idlewild Trust The Leverhulme Trust Marsh Christian Trust Adam Mickiewicz Institute The Peter Minet Trust Paul Morgan Charitable Trust The Diana and Allan Morgenthau Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund Newcomen Collett Foundation The Austin & Hope Pilkington Trust Serge Rachmaninoff Foundation The Rothschild Foundation The Samuel Sebba Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust The Underwood Trust Sir Siegmund Warburg’s Voluntary Settlement Kurt Weill Foundation for Music Garfield Weston Foundation and others who wish to remain anonymous

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Administration

Board of Directors

General Administration

Orchestra Personnel