London Philharmonic Orchestra concert programme 1 Mar 2014 by London Philharmonic Orchestra

Concert programme 2013/14 season

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

Southbank Centre’s Royal Festival Hall Saturday 1 March 2014 | 7.30pm

Julian Anderson Alleluia (15’) Beethoven Symphony No. 9 in D minor (Choral) (67’)

Vladimir Jurowski conductor Emma Bell soprano Anna Stéphany mezzo soprano John Daszak tenor Gerald Finley baritone London Philharmonic Choir

Please note there will be no interval during this performance.

* supported by the Tsukanov Family Foundation and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Programme £3 Contents 2 Welcome LPO 2014/15 season 3 About the Orchestra 4 On stage tonight 5 Vladimir Jurowski 6 Emma Bell / Anna Stéphany 7 John Daszak / Gerald Finley 8 London Philharmonic Choir 9 Leader 10 Programme notes and texts 15 Orchestra news 16 Next concerts 17 Annual Appeal: Tickets Please! 18 Catalyst: Double Your Donation 19 Supporters 20 LPO administration The timings shown are not precise and are given only as a guide.

Welcome

Welcome to Southbank Centre

LPO 2014/15 season now on sale

We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance.

Our 2014/15 season is now on sale: browse and book online at lpo.org.uk or call us on 020 7840 4242 to request a season brochure. Highlights of the new season include:

Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery.

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A year-long festival, Rachmaninoff: Inside Out, exploring the composer’s major orchestral masterpieces including all the symphonies and piano concertos, alongside some of his lesser-known works (see page 9).

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Appearances by today’s most sought-after artists including Maria João Pires, Christoph Eschenbach, Osmo Vänskä, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labèque and Robin Ticciati.

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Yannick Nézet-Séguin presents masterpieces by three great composers from the AustroGerman tradition: Brahms, Schubert and Richard Strauss.

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The UK premiere of Harrison Birtwistle’s piano concerto Responses: Sweet disorder and the carefully careless, performed by Pierre-Laurent Aimard.

LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance.

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RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

Soprano Barbara Hannigan joins Vladimir Jurowski and the Orchestra for a world premiere from our new Composer in Residence Magnus Lindberg.

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Premieres too of a Violin Concerto by outgoing Composer in Residence Julian Anderson, a children’s work, The Pied Piper of Hamelin, by Colin Matthews, and a new piece for four horns by James Horner (a double-Oscar winner for his score to the film Titanic).

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Legendary pianist Menahem Pressler – a founding member of the Beaux Arts Trio – joins Robin Ticciati to perform Beethoven’s Piano Concerto No. 4.

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Choral highlights with the London Philharmonic Choir include Stravinsky’s Requiem Canticles, Verdi’s Requiem, Rachmaninoff’s Spring and The Bells, Ravel’s Daphnis et Chloé and Janáček’s Glagolitic Mass.

If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium.

MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

2 | London Philharmonic Orchestra

London Philharmonic Orchestra

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people 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, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the current Principal Conductor and Artistic Advisor, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor. Julian Anderson is the Orchestra’s current Composer in Residence.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy 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 over 70 releases available on CD and to download. Recent additions include Brahms’s Symphonies Nos. 3 & 4 and Mahler’s Symphony No. 1 with Vladimir Jurowski; Vaughan Williams’s Symphonies Nos. 5 & 7 with Bernard Haitink; Mahler’s Das Lied von der Erde with Yannick Nézet-Séguin, Sarah Connolly and Toby Spence; and a disc of new works by the Orchestra’s Composer in Residence, Julian Anderson. In summer 2012 the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics.

The Orchestra is resident at Southbank Centre’s The London Philharmonic Orchestra is committed to Royal Festival Hall in London, where it gives around inspiring the next generation through its BrightSparks 40 concerts each season. 2013/14 highlights include schools’ concerts and FUNharmonics family concerts; a Britten centenary celebration with Vladimir the Leverhulme Young Jurowski including the War Composers programme; Requiem and Peter Grimes; and the Foyle Future world premieres of James Firsts orchestral MacMillan’s Viola Concerto Bachtrack.com training programme and Górecki’s Fourth 2 October 2013, Royal Festival Hall: Britten centenary concert for outstanding young Symphony; French repertoire players. Over recent with Yannick Nézet-Séguin; years, digital advances and social media have enabled and a stellar array of soloists including Evelyn Glennie, the Orchestra to reach even more people across the Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, globe: all its recordings are available to download from Renaud Capuçon, Leonidas Kavakos, Julia Fischer, iTunes and, as well as a YouTube channel and regular Emanuel Ax and Simon Trpčeski. Throughout 2013 podcast series, the Orchestra has a lively presence on the Orchestra collaborated with Southbank Centre on Facebook and Twitter. the year-long festival The Rest Is Noise, exploring the influential works of the 20th century. Find out more and get involved! The London Philharmonic Orchestra enjoys flourishing residencies in Brighton and Eastbourne, and performs lpo.org.uk regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival facebook.com/londonphilharmonicorchestra Opera, where it has been Resident Symphony Orchestra for 50 years. The Orchestra also tours internationally, twitter.com/LPOrchestra performing concerts to sell-out audiences worldwide. Highlights of the 2013/14 season include visits to the USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain.

The LPO are an orchestra on fire at the moment.

London Philharmonic Orchestra | 3

On stage tonight

First Violins Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Ilyoung Chae Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Grace Lee Galina Tanney Second Violins Philippe Honoré Guest Principal Jeongmin Kim Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Fiona Higham Nynke Hijlkema Marie-Anne Mairesse Ashley Stevens Emma Wragg Alison Strange Helena Nicholls Ksenia Berezina Stephen Stewart

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Daniel Cornford Isabel Pereira Sarah Malcolm Helen Bevin Fay Sweet Cellos Kristina Blaumane Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Helen Rathbone

Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick Principal Guillaume Deshayes Sue Böhling Angela Tennick Cor Anglais Sue Böhling Principal Chair supported by Julian & Gill Simmonds

Clarinets Robert Hill* Principal Emily Meredith Douglas Mitchell Paul Richards

Daniel Newell William O’Sullivan Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal

Bass Clarinet Paul Richards Principal

Percussion Andrew Barclay* Principal

Bassoons Ben Hudson Guest Principal Gareth Newman* Stuart Russell Emma Harding

Flutes Thomas Hancox Guest Principal Sue Thomas

Horns John Ryan* Principal David Pyatt* Principal

Clare Robson Stewart McIlwham*

Chair supported by Geoff & Meg Mann

E-flat Clarinet Douglas Mitchell

Double Basses Kevin Rundell* Principal Laurence Lovelle George Peniston Richard Lewis Helen Rowlands Tom Walley Laura Murphy Lowri Morgan

Chair supported by the Sharp Family

Trumpets Paul Beniston* Principal Anne McAneney*

Contrabassoon Simon Estell Principal

Chair supported by Simon Robey

Jonathan Bareham Mark Vines Co-Principal Martin Hobbs

Chair supported by Andrew Davenport

Scott Lumsdaine Keith Millar Jeremy Cornes Harp Rachel Masters* Principal Chair supported by Friends of the Orchestra

Piano/Celeste Clíodna Shanahan Assistant Conductor Marius Stravinsky * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

4 | London Philharmonic Orchestra

Vladimir Jurowski

Principal Conductor and Artistic Advisor

One of today’s most sought-after and dynamic conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow, and completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany, continuing his studies at the High Schools of Music in Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming the Orchestra’s Principal Conductor in September 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has also held the positions of First Kapellmeister of the Komische Oper, Berlin (1997– 2001); Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03); Principal Guest Conductor of the Russian National Orchestra (2005–09); and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir Jurowski has appeared on the podium with many leading orchestras in Europe and North America including the Berlin and Vienna Philharmonic orchestras, the Royal Concertgebouw Orchestra, The Philadelphia Orchestra, the Boston and Chicago symphony orchestras, the Tonhalle-Orchester Zürich, the Gewandhausorchester Leipzig, and the Staatskapelle Dresden. Highlights of the 2013/14 season and beyond include his debuts with the New York Philharmonic, NHK Symphony (Tokyo) and San Francisco Symphony orchestras; tours with the Chamber Orchestra of Europe and the Mahler Chamber Orchestra; and return visits to the Chicago Symphony, Berlin Radio Symphony, Cleveland and Philadelphia orchestras, and the Accademia Nazionale di Santa Cecilia.

Jurowski made his debut at the Metropolitan Opera, New York, in 1999 with Rigoletto, and has since returned for Jenůfa, The Queen of Spades and Hansel and Gretel. He has conducted Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opera National de Paris; Eugene Onegin at Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and Iolanta and Die Teufel von Loudon at the Dresden Semperoper, as well as The Magic Flute, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen, Ariadne auf Naxos and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera. In autumn 2013 he returned to the Metropolitan Opera for Die Frau ohne Schatten, and future engagements include Moses und Aron at the Komische Oper Berlin and The Fiery Angel at the Bayerische Staatsoper in Munich. Jurowski’s discography includes the first ever recording of the cantata Exil by Giya Kancheli for ECM; Meyerbeer’s L’étoile du Nord for Marco Polo; Massenet’s Werther for BMG; and a series of records for PentaTone with the Russian National Orchestra. The London Philharmonic Orchestra has released a wide selection of his live recordings on its LPO Live label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; Rachmaninoff’s Symphonic Dances; Tchaikovsky’s Symphonies 1, 4, 5, 6 and Manfred; and works by Turnage, Holst, Britten, Shostakovich, Honegger and Haydn. His tenure as Music Director at Glyndebourne has been documented in CD releases of La Cenerentola, Tristan und Isolde and Prokofiev’s Betrothal in a Monastery, and DVD releases of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus, Die Meistersinger von Nürnberg, Don Giovanni and Rachmaninoff’s The Miserly Knight. Other DVD releases include Hansel and Gretel from the Metropolitan Opera; his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler; and DVDs with the Orchestra of the Age of Enlightenment (Beethoven’s Symphonies Nos. 4 and 7) and the Chamber Orchestra of Europe (Strauss and Ravel), all released by Medici Arts. Vladimir Jurowski’s position as Principal Conductor and Artistic Advisor of the London Philharmonic Orchestra is generously supported by the Tsukanov Family Foundation and one anonymous donor.

London Philharmonic Orchestra | 5

Anna Stéphany

soprano

mezzo soprano

Emma Bell trained at the Royal Academy of Music and the National Opera Studio, and won the 1998 Kathleen Ferrier Prize. She currently studies with Joy Mammen. Her operatic appearances have included Agathe, Mimì and Alcina (Komische Oper Berlin, where she was a member for three years); Rodelinda (Glyndebourne Festival Opera; Théâtre du Châtelet); Vitellia and Violetta (English National Opera); Elettra in Idomeneo (La Scala, Milan); Leonora in Nielsen’s Maskarade and Donna Elvira (Royal Opera House); and the Governess in The Turn of the Screw (Leipzig). She performs worldwide in concert and recital, working with many leading conductors; concert appearances have included Britten’s War Requiem and Beethoven’s Missa Solemnis under Sir Antonio Pappano, and concerts with Sir Charles Mackerras and Nikolaus Harnoncourt. Recent engagements have included Leonore in Fidelio for Opera North; the title role in Judith Weir’s Miss Fortune (world premiere in Bregenz and at the Royal Opera House); Fox in The Cunning Little Vixen (Glyndebourne Festival Opera); Eva in Die Meistersinger von Nürnberg (ROH and Zurich); Countess Almaviva (Opéra Bastille); Donna Elvira (Metropolitan Opera, New York); concerts with Sir Mark Elder and the Hallé in Manchester and at the Aldeburgh Festival; classical arias with the Orchestra of the Age of Enlightenment and Marin Alsop; Elsa in Lohengrin (Welsh National Opera and Hamburg); Leonore in Fidelio (English National Opera); and Britten’s War Requiem (Gothenberg Symphony Orchestra). Future plans include Leonore in Fidelio with the Netherlands Radio Philharmonic Orchestra at the Amsterdam Concertgebouw; Madame Lidoine in Dialogues des carmélites and Elisabeth in Tannhäuser at the Royal Opera House; and Elettra in Idomeneo at the Teatro Colón, Buenos Aires.

6 | London Philharmonic Orchestra

Emma Bell

Anglo-French mezzo soprano Anna Stéphany has been praised for her stagecraft and for possessing a voice that Gramophone magazine described as ‘a superb, glowing, impassioned mezzo’. Anna Stéphany joined the Zürich Opera House in 2012/13, where she made her debut as Cherubino in Mozart’s The Marriage of Figaro and Dorabella in Così fan tutte. Future roles there include Siebel in Gounod’s Faust; Nicklausse in Offenbach’s Tales of Hoffmann; Minerva in Monteverdi’s Il ritorno d’Ulisse in patria; and Komponist in Strauss’s Ariadne auf Naxos. One of her most coveted roles is Octavian in Strauss’s Der Rosenkavalier; she made her role debut at the Bolshoi Theatre in 2011 and will revive the role with her debut at the Royal Swedish Opera in 2015. Anna Stéphany has appeared as Rosina in Rossini’s The Barber of Seville at the Théâtre du Châtelet, Paris; Annio in Mozart’s La clemenza di Tito in Aix-en-Provence; and the title role in Charpentier’s Médée at the Chicago Opera Theater. Last year she covered Joyce di Donato in La donna del lago at the Royal Opera House, Covent Garden. On the concert stage, Anna Stéphany has appeared with some of the world’s finest orchestras. 2013 saw her perform Handel in New York, London and Paris with the Orchestra of the Age of Enlightenment and William Christie in a tribute to Lorraine Hunt Lieberson. Other recent concerts have included performances with the Philharmonia Orchestra under Jakub Hrůša; Ensemble Pygmalion under Raphaël Pichon; the Balthasar Neumann Ensemble under Thomas Hengelbrock; and Orchestra La Scintilla under Laurence Cummings. She is also noted for her interpretations of modern music, most recently in Berio’s O King at the BBC Proms. In the coming seasons Anna Stéphany will appear in concert with the Philharmonia Orchestra, the Royal Scottish National Orchestra, the Musikkollegium Winterthur, the Academy of Ancient Music, the Russian National Orchestra and the Zürich Philharmonia.

Gerald Finley

tenor

baritone

Boasting a broad and eclectic repertoire, John Daszak is widely considered one of Europe’s most versatile tenors. Key successes in recent seasons include Berg’s Wozzeck in Berlin with Daniel Barenboim, Zemlinsky’s Der Zwerg in Munich with Kent Nagano, Schoenberg’s Moses und Aron in Vienna with Lothar Zagrosek, and Britten’s Billy Budd in New York with David Robertson.

Grammy-award winning Canadian baritone Gerald Finley has become one of the leading singers of his generation, with award-winning CD and DVD recordings on major labels and performances at the world’s major opera and concert venues. Born in Montreal, Gerald Finley began singing as a chorister in Ottawa, Canada, and completed his musical studies in the UK at the Royal College of Music; King’s College, Cambridge; and the National Opera Studio.

This season John Daszak will return to the Bayerische Staatsoper for Der Zwerg with Martyn Brabbins, The Netherlands Opera for Prokofiev’s The Gambler with Marc Albrecht, and the Royal Opera House, Covent Garden for Strauss’s Elektra with Andris Nelsons. This season also marks his first Ring Cycle (Siegfried) in a new Dieter Dorn production with the Grand Théàtre de Genève and Ingo Metzmacher. In concert, John can be heard in Schoenberg’s Gurrelieder at Bucharest’s Enescu Festival under Bertrand de Billy, and with the Sydney Symphony Orchestra in Verdi’s Requiem under David Robertson.

John Daszak

In opera, he has sung all of Mozart’s major baritone roles. His Don Giovanni has been seen in New York, London, Paris, Salzburg, Munich, Rome, Vienna, Prague, Tel Aviv, Budapest and Glyndebourne. As the Count in The Marriage of Figaro, his appearances have included the Royal Opera House, Covent Garden; the Salzburg Festival; Paris; Vienna; Munich; and Amsterdam. Among his roles at the Metropolitan Opera in New York are Don Giovanni, Count Almaviva, Golaud and Marcello. Elsewhere, his repertoire has developed with acclaimed performances of Hans Sachs, Amfortas, Iago and Guillaume Tell. In contemporary opera, Gerald Finley has excelled in creating leading roles, most notably J. Robert Oppenheimer in John Adams’s Doctor Atomic (Metropolitan Opera, English National Opera, San Francisco, Chicago and Amsterdam); Howard K. Stern in Mark-Anthony Turnage’s Anna Nicole at the Royal Opera House; Harry Heegan in Turnage’s The Silver Tassie at ENO; and Jaufré Rudel in Kaija Saariaho’s L’amour de loin in Santa Fe, Paris and Helsinki. Gerald Finley’s wide-ranging concert repertoire includes appearances with all the major London orchestras, the Berlin Philharmonic, the Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, the New York Philharmonic, and the Los Angeles Philharmonic Orchestra, amongst many others. His many solo recital CD releases have been devoted to the songs of Barber, Britten, Ives, Liszt, Ravel, Schubert and Schumann. London Philharmonic Orchestra | 7

London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Roger Norrington | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Andrew Mackie | Choir Manager Tessa Bartley

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for over 65 years and made numerous recordings for CD, radio and television. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. In 2012/13, concerts with the LPO included Rachmaninoff’s The Bells, Haydn’s Nelson Mass, Schoenberg’s A Survivor from Warsaw, Brahms’s Ein deutsches Requiem and Elgar’s The Dream of Gerontius. As part of Southbank Centre’s The Rest Is Noise festival in 2013, the Choir performed Arvo Pärt’s Magnificat and Berlin Mass, Shostakovich’s Symphony No. 13 (Babi Yar), Poulenc’s Stabat mater, Britten’s War Requiem, Stravinsky’s Symphony of Psalms, Orff’s Carmina Burana, Tippett’s A Child of Our Time and John Adams’s El Niño. Recently released CDs with the London Philharmonic Orchestra include Brahms’s Ein deutsches Requiem with Yannick Nézet-Séguin, Holst’s The Planets and Mahler’s

Sopranos Catherine Allum, Hilary Bandy, Lisa Bartley, Tessa Bartley, Laura Buntine, Whitney Burdge, Millie Carden, Gemma Chance, Paula Chessell, Emily Clarke, Sally Cottam, Harriet Crawford, Sarah Deane-Cutler, Victoria Denard, Lucy Doig, Philippa Drinkwater, Rosha Fitzhowle, Eloise Garland, Rachel Gibbon, Emma Hancox, Jane Hanson, Catrin Harrison, Sally Harrison, Laura Hunt, Georgina Kaim, Mai Kikkawa, Jenni Kilvert, Judith Kistner, Olivia Knibbs, Clare Lovett, Rosalind Mann, Natasha Maslova, Victoria Mattinson, Janey Maxwell, Alexandra May, Meg McClure, Katie Milton, Mariana Nina, Carmel Oliver, Lydia Pearson, Sophie Peters, Nicky Race, Danielle Reece-Greenhalgh, Victoria Smith, Tania Stanier, Louisa Sullivan, Susan Thomas, Rachael Ward, Julia Warner, Charlotte Wielgut Altos Marina Abel Smith, Deirdre Ashton, Phye Bell, Sally Brien, Andrei Caracoti, Noel Chow, Liz Cole, Sheila Cox, Fiona Duffy-Farrell, Elisa Dunbar, Lynn Eaton, Carmel Edmonds, Regina Frank, Kathryn Gilfoy, Ben Gittins, Henrietta Hammonds, Andrea Lane, Charlie Liddington, Lisa MacDonald, Ayla Mansur, Michelle Marple, Marj McDaid,

8 | London Philharmonic Orchestra

Symphony No. 2 with Vladimir Jurowski, Beethoven’s Missa Solemnis with Christoph Eschenbach, and Dvořák’s Requiem and Stabat mater with Neeme Järvi. The Choir appears regularly at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir performed at the Doctor Who Proms in 2008, 2010 and 2013, and in 2011 appeared in Verdi’s Requiem, Liszt’s A Faust Symphony and Beethoven’s Missa Solemnis. Last year, it performed Elgar’s The Apostles with Sir Mark Elder and Howells’s Hymnus Paradisi under Martyn Brabbins. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. Most recently, members of the choir performed Weill’s The Threepenny Opera in Paris, with a repeat performance in London. The London Philharmonic Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit lpc.org.uk

Mary Moore, Sophie Morrison, Rachel Murray, John Nolan, Angela Pascoe, Sheila Rowland, Carolyn Saunders, Dorothea Stawenow, Muriel Swijghuisen Reigersberg, Catherine Travers, Susi Underwood, Jenny Watson, Suzanne Weaver Tenors Scott Addison, David Aldred, Geir Andreassen, Christopher Beynon, Thomas Cameron, Lorne Cuthbert, Kevin Darnell, Michael Delany, Frederick Fisher, Robert Geary, Jon Hall, Iain Handyside, Stephen Hodges, Rob Home, Patrick Hughes, Hyujn Jin Jeong, Max Kettner, Luke Phillips, Sam Roots, Travis Winstanley, Tony Wren Basses Martyn Atkins, John Bandy, Jonathon Bird, Peter Blamire, Gordon Buky-Webster, Adam Bunzl, Geoff Clare, Bill Cumber, Marcus Daniels, Benjamin Fingerhut, Ian Frost, Christopher Gadd, Paul Gittens, Nigel Grieve, Mark Hillier, Stephen Hines, Rylan Holey, Martin Hudson, Aidan Jones, Steve Kirby, Anthony McDonald, Richard Miller, John D Morris, Ashley Morrison, Will Parsons, Johan Pieters, Mike Probert, Fraser Riddell, Daniel Snowman, Peter Sollich, Alex Thomas, Matthew Ward

Pieter Schoeman leader

Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002. Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in

St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance.

London Philharmonic Orchestra 2014/15 season

Rachmaninoff: Inside Out A year-long exploration of the composer’s life and music Friday 3 October 2014 The Isle of the Dead | Piano Concerto No. 1 (original version) | Symphonic Dances Wednesday 29 October 2014 Piano Concerto No. 3 | Symphony No. 2 Friday 7 November 2014 Piano Concerto No. 4 (final version) Friday 28 November 2014 Rhapsody on a Theme of Paganini Wednesday 3 December 2014 Symphony No. 1

Wednesday 21 January 2015 The Miserly Knight Saturday 7 February 2015 Three Russian Songs | Spring Wednesday 11 February 2015 Piano Concerto No. 2 | The Bells Friday 13 February 2015 Piano Concerto No. 4 (original version) Wednesday 25 March 2015 Piano Concerto No. 1 (final version) Wednesday 29 April 2015 Piano Suite | Songs | Symphony No. 3

lpo.org.uk | Call 0207 840 4242 for a season brochure Rachmaninoff Inside Out is presented in co-operation with the Serge Rachmaninoff Foundation

London Philharmonic Orchestra | 9

Programme notes

‘Now let all humans exult’ Julian Anderson is one of the leading British composers of his generation, especially admired for his handling of large forces and large canvasses; his first opera, Thebans, with a libretto by Frank McGuinness based on Sophocles’s three Theban plays, will be premiered by English National Opera in May. He has enjoyed a long association with the London Philharmonic Orchestra: he was its Composer in Focus in 2002/03, and has been its Composer in Residence for the last four seasons. It was between these two periods, in 2007, that he wrote Alleluia for the London Philharmonic Orchestra and Chorus, under Vladimir Jurowski, to perform at the concert celebrating the re-opening of this Hall after its renovation. The work is a setting for chorus and large, multi-coloured orchestra of the 10th-century Latin ‘Alleluia Sequence’, which calls on all humanity to join the heavenly choirs, the ‘shining lamps of the stars’ and the mountains and valleys in singing ‘Alleluia’ in praise of the Creator.

Julian Anderson

The text of the Sequence has affinities with the equally all-embracing ‘Ode to Joy’ of the German poet and dramatist Friedrich Schiller which, in celebrating universal brotherhood, urges all mankind to seek the Creator ‘above the starry firmament’. Beethoven’s long-held ambition to set the Ode to music eventually converged with his plans for a largescale Symphony in D minor: the result, completed and first performed in 1824, was the last and biggest of his nine symphonies, and the first ever symphony to include voices. The first three movements are purely orchestral: a broad Allegro suggesting mystery and lofty ambition, a scherzo of inexhaustible energy, and a slow movement in double variation form which turns inwards in profound meditation. But in the finale, after fragments of these three movements have passed in review, the solo bass dismisses them in favour of something else – which proves to be the thrillingly exultant setting for solo voices and chorus of Schiller’s Ode.

Alleluia London Philharmonic Choir

born 1967

Alleluia was commissioned by Southbank Centre for the re-opening of the Royal Festival Hall in 2007. The opening of a new performing space – or in this case, a newly refurbished one – is always a cause for celebration and rejoicing. Initially this work was only going to set the word ‘alleluia’ repeatedly in many languages and dialects. Then my friend Bayan Northcott drew my attention to the extraordinary set of verses in Latin known as the ‘Alleluia Sequence’ in which all creation joins together in praise and jubilation. The word ‘Alleluia’ occurs at the end of every verse, so there was plenty of chance for me to set it in different ways.

10 | London Philharmonic Orchestra

I did not wish simply to write an occasional piece, but to explore the many emotions of celebration in a variety of ways that would result in contrasting types of music, whether exuberant or meditative. Chorus and orchestra dialogue in the manner of a concerto, each having passages to themselves. Three musical sections are played without a break. First, a dense orchestral mist from which choral melodies reminiscent of plainsong emerge. Then a vigorous choral-orchestral dance, ending with a choral cadenza. Finally, the longest part, mainly slow, which

explores the word ‘Alleluia’ alone. Here the orchestra includes a number of unusual instruments such as steel drums.

Julian Anderson on the LPO Label Fantasias The Crazed Moon The Discovery of Heaven*

I am grateful for the collaboration of the London Philharmonic Choir (with whom I have myself sung on occasion), the London Philharmonic Orchestra and their brilliant conductor Vladimir Jurowski. Alleluia is dedicated to them all. © Julian Anderson 2007

Vladimir Jurowski conductor Ryan Wigglesworth conductor* London Philharmonic Orchestra LPO-0074 | £9.99 Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Download or stream online via iTunes, Spotify, Amazon and others

Cantemus omnes melodiam ‘Alleluia’. ‘Alleluia’.

Let us all now sing the melody ‘Alleluia’.

In laudibus aeterni Regis Haec plebs resultet ‘Alleluia’.

In the praises of the eternal King Let all here assembled sound forth ‘Alleluia’.

Hoc denique cealestes chori Cantant in altum ‘Alleluia’.

And now let the heavenly choirs Sing on high ‘Alleluia’.

Hoc beatorum Per prata paradisiacal Psallat concentus ‘Alleluia’.

Then let the assembly of the blessed In the field of paradise Sing the praise ‘Alleluia’.

Quin et astrorum Micantia luminaria Jubilant in altum ‘Alleluia’.

Yes, let the shining lamps Of the stars Sing in the heights ‘Alleluia’.

Istinc montium Celsi vertices sonent ‘Alleluia’.

Now let the high tops Of the mountains resound ‘Alleluia’.

Illinc valium Profunditates saltent ‘Alleluia’.

With them let the depths Of the valleys leap forth their ‘Alleluia’.

Nunc omnes genus Humanum laudans exsultet ‘Alleluia’.

Now let all humans Exult, praising ‘Alleluia’.

Continued overleaf London Philharmonic Orchestra | 11

Programme notes continued

Et creatori Gratens frequentans consonet ‘Alleluia’.

And to the creator Let them give thanks again and again together shouting ‘Alleluia’.

Alleluia, Alleluia. Alleluia, Alleluia. Alleluia, Alleluia.

Alleluia, Alleluia. Alleluia, Alleluia. Alleluia, Alleluia. Text from the Alleluia Sequence, Anon. 10th century, adapted by Julian Anderson. Translation by the composer.

Ludwig van Beethoven 1770–1827

1 Allegro ma non troppo, un poco maestoso 2 Molto vivace 3 Adagio molto e cantabile 4 Presto The last of Beethoven’s nine symphonies – and his last completed orchestral work – was first performed at a benefit concert for the composer in the Kärtnertor Theatre in Vienna on 7 May 1824. The occasion was one of Beethoven’s greatest public successes. A large audience assembled not only to hear the music, but also to pay homage to a celebrated figure who was now rarely seen in public. Beethoven stood on the platform, turning the pages of the score and beating time; but the conductor had warned the performers to take no notice of him. By now he was so deaf that he could not even hear the enthusiastic applause: a famous story tells how he had to be turned round gently by one of the soloists to acknowledge it. Beethoven had composed the Symphony in response to a commission he received from the Philharmonic Society of London at the end of 1822. It took him little more than a year to complete the score, which was ready by March 1824. But in another sense it was the

12 | London Philharmonic Orchestra

Symphony No. 9 in D minor, Op. 125 (Choral) Emma Bell soprano Anna Stéphany mezzo soprano John Daszak tenor Gerald Finley baritone London Philharmonic Choir

fruit of a lifetime’s work. Ideas for it can be traced back to notebooks of the mid-1810s, while the strong and simple main theme of the finale is anticipated in a little song called Gegenliebe, composed as early as the mid-1790s. And it was in the same decade that he first conceived the idea of setting the ‘Ode to Joy’ (‘An die Freude’) by Friedrich Schiller, which had been published in 1786. In fact, the notion of using portions of Schiller’s celebration of the brotherhood of mankind in a largescale work seems to have run in parallel with the plan for a Symphony in D minor for some years; it was only at a late stage that Beethoven merged the two projects, to create the first choral symphony. The overwhelming impression made by the Symphony is of its vast scale. This is obvious right at the start, where fragments of arpeggios are gradually assembled against a sustained background, as if out of a mist, in a gradual crescendo from pianissimo to the fortissimo statement of the first subject. This opening movement, a sonata structure with an expansive coda as well as a full-scale development section, establishes the three tonal centres of the whole work: D minor, the home key of the movement; B flat major, the (unconventional) key in which the second subject is introduced; and

D major, which here is glimpsed only occasionally, notably in a brief blaze of light heralding the start of the recapitulation – a moment that clearly inspired Mahler as much as the opening did Bruckner. The second movement is a scherzo on a comparably large scale, its D minor outer sections in a sonata form of their own, its Trio a self-contained section in a contrasting tempo (Presto), key (D major) and even time-signature (2/2). This sense of opposition between sections of the same movement also extends to the slow movement, which alternates between a serene 4/4 Adagio in B flat major and a more expressive 3/4 Andante in (initially) D major, in a plan that resembles a massively expanded version of one of Haydn’s sets of double variations. Thus far, in fact, the Viennese audience of 1824 would have acknowledged all three movements as belonging to recognisable symphonic types – albeit on an unprecedented scale, in an unconventional order, and with many unusual features of orchestration. Among the instrumental innovations are, in the scherzo, the melodic use of the timpani, tuned not to the tonic and dominant, D and A, but to two Fs an octave apart; and, in the slow movement, the extended and wide-ranging solo for the fourth horn at the second return of the Adagio, which may have been intended for an early model of the valve-horn.

The finale, though, would have seemed to its first audiences something altogether new – and not only because of the introduction of voices. To start with, there is the blazingly discordant opening (on a D minor triad with an added B flat). This leads to a review of the main themes of the previous movements, linked by passages of instrumental recitative on cellos and basses, and then to the quiet first statement and gradual blossoming of the main hymn-like tune in D major. Only after a return of the opening cacophony, now even more strident than before, does the solo baritone enter, putting words of Beethoven’s own to the recitative: an invitation to abandon all these instrumental sounds in favour of joyful singing together. So begins the choral finale proper, a highly original combination of free variation and rondo forms. Its wide range encompasses an extended episode in 6/8 march time (in B flat major, and including the percussion instruments known at the time as ‘Turkish music’), followed by a fierce fugato (leading back to D major); then later a solemn treatment of the more visionary verses that Beethoven selected from Schiller’s Ode; and finally an irresistible affirmation of joy. Speedread and Beethoven Symphony No. 9 programme note © Anthony Burton

O Freunde, nicht diese Töne! sondern lasst uns angenehmere anstimmen, und freudenvollere!

O friends, not these sounds! Rather let us strike up something more pleasing and joyful!

Freude, schöne Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder Wo dein sanfter Flügel weilt.

Joy, lovely spark of the divine, Daughter from Elysium, Drunk with fire, we approach, Heavenly one, thy shrine! Thy spells reunite What convention has torn apart; All humanity becomes brothers Where thy gentle wings rest.

Wem der grosse Wurf gelungen Eines Freundes Freund zu sein, Wer ein holdes Weib errungen Mische seinen Jubel ein!

Let him who has that great good fortune A friend’s friend to be, Let him who has gained a charming wife Join in rejoicing! Continued overleaf London Philharmonic Orchestra | 13

Programme notes continued

Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund.

Yes, and whoever calls even one soul Upon the earth his own! And he who never could, let him steal weeping away.

Freude trinken alle Wesen An den Brüsten der Natur, Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund geprüft im Tod, Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott!

All creatures drink joy At Nature’s breast, All the good, all the evil Follow her rosy trail. She gave us kisses and the vine, A proven friend to the death, The worm was given sensual feelings, And the cherub stands before God!

Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.

Glad, as his suns race Through the heavens’ glorious design, Run your course, brothers, Joyful, like a hero to the victory.

Seid umschlungen, Millionen, Diesen Kuss der ganzen Welt! Brüder, überm Sternenzelt Muss ein lieber Vater wohnen.

Be embraced, you millions, This kiss for all the world! Brothers, above the starry firmament A loving father must dwell.

Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such’ ihn überm Sternenzelt! Über Sternen muss er wohnen.

Do you fall to your knees, you millions? Do you feel the Creator’s presence, world? Seek him above the starry firmament! Above the stars he must dwell. English translation © Eric Mason

Beethoven’s Symphony No. 9 on the LPO Label Beethoven: Symphony No. 9 Klaus Tennstedt conductor Lucia Popp soprano Ann Murray mezzo soprano Anthony Rolfe Johnson tenor René Pape bass London Philharmonic Orchestra London Philharmonic Choir

‘The listener sits on a knife-edge throughout, as if on a stagecoach drawn by galloping horses on a precipitous mountainside road. The ride is exhilarating.’ The Sunday Times, September 1992

£9.99 | LPO-0026 Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Download or stream online via iTunes, Spotify, Amazon and others

14 | London Philharmonic Orchestra

Orchestra news

New Principal Guest Conductor

New CD release: Carmina Burana

The London Philharmonic Orchestra is delighted to announce the appointment of Andrés Orozco-Estrada as its new Principal Guest Conductor, effective from September 2015. He becomes Principal Guest Conductor Designate when the tenure of Canadian Yannick Nézet-Séguin, who has been in the role since 2008, ends at the end of the current season.

This month’s release on the LPO Label is Orff’s Carmina Burana conducted by Hans Graf (LPO-0076). It was recorded live in concert at Royal Festival Hall on 6 April 2013, as part of Southbank Centre’s yearlong The Rest Is Noise festival, and features the London Philharmonic Choir and soloists Sarah Tynan, Andrew Kennedy and Rodion Pogossov.

Colombian-born Orozco-Estrada first worked with the London Philharmonic Orchestra in November 2013, conducting a major tour of Germany, and made his Royal Festival Hall debut with the Orchestra on 29 January 2014. Thirty-six-year-old Orozco-Estrada already holds the position of Music Director of the Tonkünstler Orchestra in Vienna. In the 2014/15 season he will become Music Director of the Houston Symphony Orchestra and Chief Conductor of the Frankfurt Radio Symphony Orchestra.

Priced £9.99, the CD is also available from lpo.org.uk/shop (where you can listen to soundclips before you buy), the LPO Ticket Office (020 7840 4242) and all good CD retailers.

We look forward to a long and fruitful partnership with Andrés Orozco-Estrada, and many more successful concerts to come.

Alternatively you can download it from iTunes, Amazon and others, or stream via Spotify.

The Rest Is Noise wins Sky Arts Award

Spring tours

We are delighted at the recent news that The Rest Is Noise, Southbank Centre’s 2013 festival of 20thcentury music, was awarded the South Bank Sky Arts Classical Award. As the major orchestral partner of The Rest Is Noise, the LPO dedicated our entire 2013 programme to chronologically charting some of the most influential works of the 20th century, whilst exploring the political and social contexts that gave rise to these great pieces. It was a truly exciting project to be a part of and we are thrilled with the news of the award.

Last month the Orchestra, along with Glyndebourne Festival Opera soloists and chorus under Sir Mark Elder, took Britten’s Billy Budd to New York for four performances at the Brooklyn Academy of Music. The cast included Jacques Imbrailo as Billy Budd, Brindley Sherratt as Claggart and Mark Padmore as Captain Vere. The production received rave reviews in the press, with the New York Times critic describing it as ‘one of the most memorable performances I have seen in opera’. Tomorrow morning the Orchestra, along with Vladimir Jurowski and tonight’s soloists, will hop on the Eurostar to Paris for another performance of Beethoven’s Symphony No. 9 at the Théâtre des Champs-Elysées. Still to come this spring are visits to Dortmund in Germany with Yannick Nézet-Séguin and pianist Nicholas Angelich at the end of March; and Moscow for performances of Britten’s War Requiem and Beethoven’s Violin Concerto with Vladimir Jurowski and soloist Lisa Batiashvili in April.

London Philharmonic Orchestra | 15

Next LPO concerts at Royal Festival Hall

Friday 7 March 2014 | 7.30pm JTI Friday Series Dvořák Scherzo capriccioso Tchaikovsky Piano Concerto No. 1 Mahler Blumine Shostakovich Symphony No. 1 Ilyich Rivas conductor Simon Trpčeski piano

Wednesday 26 March 2014 | 7.30pm Poulenc Organ Concerto Berlioz Les nuits d’été Saint-Saëns Symphony No. 3 (Organ) Yannick Nézet-Séguin conductor Sarah Connolly mezzo soprano* James O’Donnell organ This concert is supported by Palazzetto Bru Zane – Centre de musique romantique française.

Friday 14 March 2014 | 7.30pm JTI Friday Series Mendelssohn Violin Concerto Bruckner Symphony No. 3 (1889 Nowak edition) Stanisław Skrowaczewski conductor Benjamin Beilman violin

* Sarah Connolly has replaced Anna Caterina Antonacci for scheduling reasons.

Free pre-concert discussion 6.00–6.45pm | Royal Festival Hall William McVicker and guests discuss the restoration of the Royal Festival Hall organ.

Free pre-concert performance 6.00–6.45pm | Royal Festival Hall Musicians from the LPO join students from London Music Masters’ Bridge Project for a musical celebration.

Friday 28 March 2014 | 7.30pm

Wednesday 19 March 2014 | 7.30pm

Yannick Nézet-Séguin conductor Nicholas Angelich piano

Mozart Symphony No. 38 (Prague) R Strauss Burleske J S Bach Piano Concerto No. 1 in D minor, BWV 1052 R Strauss Death and Transfiguration

JTI Friday Series Mendelssohn Piano Concerto No. 1 Mahler Symphony No. 9

David Zinman conductor Emanuel Ax piano

Booking details Tickets £9–£39 (premium seats £65) London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm | lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone

Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm | southbankcentre.co.uk Transaction fees: £1.75 online, £2.75 telephone | No transaction fee for bookings made in person

16 | London Philharmonic Orchestra

Annual Appeal 2013/14: Tickets Please!

Do you remember the first time you saw an orchestra live? Every year the London Philharmonic Orchestra’s schools’ concerts allow over 16,000 young people to see the Orchestra live. Six out of ten children attending the concerts will be experiencing an orchestra for the very first time.

Anne McAneney

Then: aged 8

Now: LPO Trumpet

I grew up in Belfast and started playing the piano when I was eight. A few years later I saw my first orchestral concert. I was completely knocked out by the exciting sound produced by the full orchestra. I wanted to be part of it and began playing the trumpet. Your donation of £9 to Ticket Please! can inspire today’s children in the same way. Please give generously.

A donation of just £9 will allow a child from one of south London’s most disadvantaged schools to attend one of our schools’ concerts for free. Whether you want to help one child (£9), three children (£27), donate a row of seats in the stalls (£108), or allow a whole class to attend (£270), you can help us to fill our concert hall and allow many children to enjoy their first orchestral experience. Visit lpo.org.uk/ticketsplease, where you can select the seats you wish to donate, or call 020 7840 4212 to donate over the phone.

Donate £9 at lpo.org.uk/ticketsplease

#ticketsplease London Philharmonic Orchestra | 17

Catalyst: Double Your Donation

The London Philharmonic Orchestra is building its first ever endowment fund, which will support the most exciting artistic collaborations with its partner venues here in London and around the country. Thanks to a generous grant pledge from Arts Council England’s Catalyst programme, the Orchestra is able to double the value of all gifts from new donors up to a maximum value of £1 million. Any additional gifts from existing generous donors will also be matched. By the end of the campaign we aim to have created an endowment with a value of £2 million which will help us work with partners to provide a funding injection for activities across the many areas of the Orchestra’s work, including: • More visionary artistic projects like The Rest Is Noise at Southbank Centre • Educational and outreach activities for young Londoners like this year’s Noye’s Fludde performance project • Increased touring to venues around the UK that might not otherwise have access to great orchestral music To give, call Development Director Nick Jackman on 020 7840 4211, email support@lpo.org.uk or visit www.lpo.org.uk/support/double-your-donation.html

Catalyst Endowment Donors Masur Circle Arts Council England Emmanuel & Barrie Roman The Sharp Family The Underwood Trust Welser-Möst Circle John Ireland Charitable Trust Tennstedt Circle Simon Robey The late Mr K Twyman Solti Patrons Anonymous Suzanne Goodman The Rothschild Foundation Manon Williams & John Antoniazzi Haitink Patrons Lady Jane Berrill Moya Greene Tony and Susie Hayes Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Ruth Rattenbury

18 | London Philharmonic Orchestra

Sir Bernard Rix TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker Pritchard Donors Anonymous Linda Blackstone Michael Blackstone Yan Bonduelle Richard and Jo Brass Britten-Pears Foundation Lady June Chichester Lindka Cierach Mr Alistair Corbett Mark Damazer David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Commander Vincent Evans Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust John Hunter

Ivan Hurry Tanya Kornilova Howard & Marilyn Levene Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Dr Frank Lim Geoff & Meg Mann Ulrike Mansel Marsh Christian Trust John Montgomery Rosemary Morgan John Owen Edmund Pirouet Mr Michael Posen John Priestland Tim Slorick Howard Snell Stanley Stecker Lady Marina Vaizey Helen Walker Laurence Watt Des & Maggie Whitelock Christopher Williams Victoria Yanakova Mr Anthony Yolland

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 William and Alex de Winton Simon Robey The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Jane Attias John & Angela Kessler Guy & Utti Whittaker Manon Williams & John Antoniazzi Principal Benefactors Mark & Elizabeth Adams Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook David Ellen

Commander Vincent Evans Mr Daniel Goldstein Don Kelly & Ann Wood Peter MacDonald Eggers Mr & Mrs David Malpas Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Grenville & Kyrsia Williams Mr Anthony Yolland Benefactors Mrs A Beare David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry Malcolm Herring Ivan Hurry Mr Glenn Hurstfield Mr R K Jeha

Per Jonsson Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Dr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Andrew T Mills John Montgomery Mr & Mrs Andrew Neill Martin and Cheryl Southgate Professor John Studd Mr Peter Tausig Mrs Kazue Turner Howard & Sheelagh Watson Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

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

Trusts and Foundations

Silver: AREVA UK Berenberg Bank British American Business Carter-Ruck Thomas Eggar LLP

Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust 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 Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Hinrichsen Foundation The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust Marsh Christian Trust

Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets

The Mayor of London’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust Maxwell Morrison Charitable Trust The Ann and Frederick O’Brien Charitable Trust Palazzetto Bru Zane – Centre de musique romantique française Polish Cultural Institute in London PRS for Music Foundation The R K Charitable Trust Serge Rachmaninoff Foundation The Samuel Sebba Charitable Trust Schroder Charity Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust The Steel Charitable Trust The John Thaw Foundation The Tillett Trust Sir Siegmund Warburg’s Voluntary Settlement Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous London Philharmonic Orchestra | 19

Administration

Board of Directors Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams * Player-Director Advisory Council Victoria Sharp Chairman Christopher Aldren Richard Brass Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson Christopher Fraser OBE Lord Hall of Birkenhead CBE Clive Marks OBE FCA Stewart McIlwham Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director

Victoria Sharp Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Chief Executive Timothy Walker AM Chief Executive and Artistic Director Finance David Burke General Manager and Finance Director

Orchestra Personnel

Public Relations

Andrew Chenery Orchestra Personnel Manager

Albion Media (Tel: 020 3077 4930)

Sarah Holmes Sarah Thomas Librarians (job-share) Christopher Alderton Stage Manager Ellie Swithinbank Assistant Orchestra Personnel Manager Development

Archives Philip Stuart Discographer Gillian Pole Recordings Archive Professional Services Charles Russell Solicitors

David Greenslade Finance and IT Manager

Nick Jackman Development Director

Crowe Clark Whitehill LLP Auditors

Concert Management

Katherine Hattersley Charitable Giving Manager

Dr Louise Miller Honorary Doctor

Roanna Gibson Concerts Director Graham Wood Concerts and Recordings Manager Jenny Chadwick Tours Manager Tamzin Aitken Glyndebourne and UK Engagements Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter PA to the Chief Executive / Tours Co-ordinator Education and Community Isabella Kernot Education Director Alexandra Clarke Education and Community Project Manager Lucy Duffy Education and Community Project Manager Richard Mallett Education and Community Producer

Helen Searl Corporate Relations Manager Molly Stewart Development and Events Manager Sarah Fletcher Development and Finance Officer Rebecca Fogg Development Assistant Marketing Kath Trout Marketing Director Mia Roberts Marketing Manager Rachel Williams Publications Manager Samantha Kendall Box Office Manager (Tel: 020 7840 4242) Libby Northcote-Green Marketing Co-ordinator Penny Miller Intern Digital Projects Alison Atkinson Digital Projects Manager Matthew Freeman Recordings Consultant

20 | London Philharmonic Orchestra

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045. Photograph of Julian Anderson © Maurice Foxall. Photograph of Beethoven courtesy of the Royal College of Music, London. Front cover photograph © Patrick Harrison. Printed by Cantate.