21 october LPO programme notes

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†

JTI FRIDAY SERIES

PROGRAMME £3

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Friday 21 October 2011 | 7.30pm

CONTENTS 2 Southbank Centre / Leader 3 List of players 4 About the Orchestra 5 Jukka-Pekka Saraste 6 Thomas Zehetmair 7 Programme notes 10 Future concerts 11 Supporters 12 LPO administration

JUKKA-PEKKA SARASTE conductor THOMAS ZEHETMAIR violin

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

SIBELIUS The Dryad, Op. 45 No. 1 (5’) BEETHOVEN Violin Concerto in D major, Op. 61 (42’) Interval BRAHMS Symphony No. 2 in D major, Op. 73 (39’)

* supported by the Tsukanov Family † supported by Macquarie Group CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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Welcome

pieter schoeman Leader

Pieter Schoeman joined the London Philharmonic Orchestra as Co-Leader in 2002, and was appointed Leader in 2008.

WELCOME TO SOUTHBANK CENTRE

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A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium.

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

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

© Patrick Harrison

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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 performed frequently as Guest Leader with the symphony orchestras of Barcelona, Bordeaux, Lyon and Baltimore, as well as with the BBC Symphony Orchestra.

Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance.

2 | London Philharmonic Orchestra

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LONDON PHILHARMONIC ORCHESTRA

First Violins Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Chair supported by John and Angela Kessler

Xuan Du Shlomy Dobrinsky Katalin Varnagy Catherine Craig Tina Gruenberg Martin Höhmann Chair supported by Richard Karl Goeltz

Geoffrey Lynn Robert Pool Yang Zhang Rebecca Shorrock Peter Nall Galina Tanney Second Violins Clare Duckworth Principal Chair supported by the Sharp Family

Joseph Maher Kate Birchall

Violas Vicci Wardman Guest Principal Robert Duncan Katharine Leek Benedetto Pollani Laura Vallejo Susanne Martens Emmanuella ReiterBootiman Daniel Cornford Naomi Holt Isabel Perreira Cellos Moray Welsh Guest Principal Francis Bucknall Laura Donoghue Santiago Carvalho† Jonathan Ayling

and Victoria Graham Fuller

Trombones Mark Templeton* Principal David Whitehouse

Piccolo Stewart McIlwham* Principal

Bass Trombone Lyndon Meredith Principal

Oboes Ian Hardwick Principal Angela Tennick Clarinets Robert Hill* Principal James Burke Paul Richards

Jamie and Zander Sharp

Gregory Walmsley Susanna Riddell Tom Roff Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Kenneth Knussen

Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by

Bassoons Rachel Gough Guest Principal Simon Estell

Chair supported by Caroline,

Chair supported by David

Fiona Higham Ashley Stevens Maire-Anne Mairesse Imogen Williamson Sioni Williams Stephen Stewart Mila Mustakova Elizabeth Baldey Stephen Dinwoodie

Flutes Susan Thomas Principal Sarah Bennington

Horns John Ryan Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller

Andrew Davenport

Keith Millar

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

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

John MacDomnic

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose player is not present at this concert: Julian & Gill Simmonds

London Philharmonic Orchestra | 3

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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 performing classical concerts, the Orchestra also records film and computer 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 has been headed by many of the great names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Russian Vladimir Jurowski, appointed in 2007, with French-Canadian Yannick Nézet-Séguin as Principal Guest Conductor.

The Orchestra is based at Royal Festival Hall in London’s Southbank Centre, where it has performed since it opened in 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. Concert highlights in 2011/12 include a three-week festival celebrating the music of Prokofiev, concerts with artists including Sir Mark Elder, Marin Alsop, Renée Fleming, Stephen Hough and Joshua Bell, and several premières of works by living composers including the Orchestra’s Composer in Residence, Julian Anderson. In addition to its London concerts, 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 in the Sussex countryside, where it has been Resident Symphony Orchestra since 1964.

The London Philharmonic Orchestra tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first-ever visit to China by a Western orchestra. Touring remains a big part of the Orchestra’s life: tours in the 2011/12 season include visits to Belgium, Switzerland, Germany, the US, Spain, China, Russia, Oman, Brazil and France.

You may well have heard the London Philharmonic Orchestra on film soundtrack recordings: it has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, Philadelphia and East is East. The Orchestra also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 50 releases on the label, which are available on CD and to download. Recent additions include Dvořák’s Symphonic Variations and Symphony No. 8 conducted by Sir Charles Mackerras; Holst’s The Planets conducted by Vladimir Jurowski; Mahler’s Symphony No. 8 under Klaus Tennstedt; Shostakovich Piano Concertos with Martin Helmchen under Vladimir Jurowski; and Sibelius’s Symphony No. 5, Pohjola’s Daughter and Lutosławski’s Concerto for Orchestra under Jukka-Pekka Saraste. The Orchestra was also recently honoured with the commission to record all 205 of the world’s national anthems for the London 2012 Olympics Team Welcome Ceremonies and Medal Ceremonies.

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.

The London Philharmonic Orchestra maintains an energetic programme of activities for young people and local communities. Highlights include the ever-popular family and schools concerts, fusion ensemble The Band, the Leverhulme Young Composers project and the Foyle Future Firsts orchestral training scheme for outstanding young players. Over the last few years, developments in technology and social networks have enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel, news blog, iPhone app and regular podcasts, the Orchestra has a thriving presence on Facebook and Twitter.

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

4 | London Philharmonic Orchestra

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JUKKA-PEKKA SARASTE CONDUCTOR

At the beginning of the 2010/11 season, Saraste became Chief Conductor of the Cologne Radio (WDR) Symphony Orchestra. Since August 2006 he has also held the post of Chief Conductor of the Oslo Philharmonic Orchestra. His previous positions include Principal Conductorships of the Finnish Radio Symphony Orchestra (1987–2001) and Toronto Symphony Orchestra (1994–2001), as well as Principal Guest Conductor of the BBC Symphony Orchestra (2002–2005). He was also Artistic Advisor of the Lahti Symphony Orchestra and founded the Finnish Chamber Orchestra’s annual Tammisaari Festival.

Saraste’s engagements have included the major North American orchestras, the Philharmonia, Royal Concertgebouw, Rotterdam Philharmonic, Cologne Radio (WDR) Symphony, Bavarian Radio Symphony, Munich Philharmonic, Vienna Symphony and Swedish Radio Symphony orchestras, as well as the Orchestra Filarmonica della Scala and the Orchestre Philharmonique de Radio France. At the 2005 Salzburg Festival he conducted the Dresden Staatskapelle, and in 2009 he toured all the European musical capitals with the Oslo Philharmonic Orchestra and violinist AnneSophie Mutter. During the 2010/11 season he presided over a highly successful production of Puccini’s Turandot at the Royal Danish Opera. He recently conducted the first work of the opening-night programme at Helsinki’s new concert hall.

Jukka-Pekka Saraste’s extensive discography includes the complete symphonies of Sibelius and Nielsen with the Finnish Radio Symphony Orchestra, as well as works by Bartók, Henri Dutilleux, Mussorgsky and Prokofiev with the Toronto Symphony Orchestra. In 2008 he launched the Oslo Philharmonic Orchestra’s DVD recording career conducting Sibelius’s Symphonies Nos. 1 and 5. His recent CD recordings of Mahler’s Symphony No. 6 with the Oslo Philharmonic Orchestra and Symphony No. 9 with the Cologne Radio Symphony Orchestra have received widespread acclaim.

New on the LPO label

LPO-0057

Jukka-Pekka Saraste has established himself as one of the outstanding conductors of his generation, demonstrating remarkable musical depth and integrity.

Born in Lahti, Finland in 1956, he began his career as a violinist before training as a conductor with Jorma Panula at the Sibelius Academy in Helsinki. Actively seeking to bring the music of Finnish composers such as Kaija Saariaho, Magnus Lindberg and Esa-Pekka Salonen to greater prominence in the international concert repertoire, Saraste also has a special affinity with the sound and style of late Romantic music.

SiBELIUS symphony no. 5 POHJOLA’s daughter LUTOsŁawski concerto for orchestra Jukka-Pekka Saraste conductor Supported by the Adam Mickiewicz Institute as part of the Polska Music grant programme

Available from lpo.org.uk/shop, all good CD outlets and the Royal Festival Hall shop.

Downloads available from iTunes, Amazon, eMusic and classicsonline.com.

London Philharmonic Orchestra | 5

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THOMAS ZEHETMAIR VIOLIN

© Priska Ketterer

Thomas Zehetmair enjoys a worldwide reputation as a violinist as well as a conductor and chamber musician.

His international conducting career is now driven by two positions in particular: Music Director of Northern Sinfonia in the UK and Artistic Partner of the Saint Paul Chamber Orchestra in Minnesota, USA. Concert tours with Northern Sinfonia have taken him to the Hong Kong Festival, the Netherlands, Scandinavia and Germany. With Northern Sinfonia Thomas Zehetmair has made several recordings for Avie Records: Brahms’s Violin Concerto and Schumann’s Symphony No. 4 with Zehetmair as both soloist and conductor, a disc of Sibelius’s Symphonies Nos. 3 and 6 and Stravinsky’s Violin Concerto, as well as a recording of Schubert’s Symphony No. 6 and Gál’s Symphony No. 1, released in April 2011.

One of the highlights of the 2011/12 season is Thomas Zehetmair’s debut as conductor at the Salzburg Festival, where he will also perform with the Zehetmair Quartet, which he founded in 1994. The season also sees concerts with the Bavarian and Finnish Radio Symphony orchestras, Orchestre National de Lyon and Konzerthausorchester Berlin, as well as a tour of Spain with the Ensemble Orchestral de Paris. As violinist he will appear at many of Europe’s most renowned venues such as the Vienna Konzerthaus and the Munich Philharmonie.

In 2005, Thomas Zehetmair was honoured with the German Record Critics’ Award for his versatile work as soloist, conductor and chamber musician. In 2007 he was awarded the Karl-Böhm Interpretation Award by the state of Styria, Austria, during a ceremony at Graz Castle.

Thomas Zehetmair holds an honorary doctorate from the Franz Liszt College of Music in Weimar, Germany.

Thomas Zehetmair has recorded extensively, and many of his CDs have received prestigious awards. His latest releases include Bernd Alois Zimmermann’s Violin Concerto with the WDR Symphony Orchestra under Heinz Holliger (which received the Diapason d’Or de l’Année), the 24 Caprices by Paganini (German Record Critics’ Award, Midem Classic Award 2010), Elgar’s Violin Concerto with the Hallé under Mark Elder (Gramophone Award 2010) as well as Mozart’s violin concertos with the Orchestra of the Eighteenth Century under Frans Brüggen. Most recently, in March 2011, ECM released a CD entitled Manto and Madrigals on which Thomas Zehetmair and his duo partner Ruth Killius explore modern repertoire for violin and viola.

Since the beginning of the 2010/11 season Thomas Zehetmair has held the position of Artistic Partner of the Saint Paul Chamber Orchestra. Recently he has been appointed Principal Conductor and Artistic Advisor by the Orchestre de Chambre de Paris from the 2012/13 season. He also appears regularly as guest conductor with orchestras such as the Ensemble Orchestral de Paris, Camerata Salzburg, Hungarian National Orchestra, and the Bamberg Symphony, Warsaw Philharmonic and Rotterdam Philharmonic orchestras.

6 | London Philharmonic Orchestra

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PROGRAMME NOTES

Speedread Three giants of the European symphonic tradition provide the music in tonight’s programme, though only one of them with a symphony. Sibelius, one of the great 20th-century masters of the genre, is represented instead by a rarity, his short and impressionistic tone-poem The Dryad.

Jean SIBELIUS

Of all Beethoven’s concertos, the one for violin shows him at his most serene, embracing a spacious lyricism that never takes second place to showy virtuosity.

And Brahms’s Second Symphony was speedily written in the period of joyous creative release that followed the First, his long-awaited engagement with the Beethovenian inheritance.

THE DRYAD, Op. 45 No. 1

1865–1957

Among Sibelius’s tone-poems The Dryad, barely five minutes long, is one of the more rarely heard in concert.

Composed in 1910, the same year as the Fourth Symphony, its opening pages suggest that it will share something of that work’s dark, spare atmosphere, but the various disjointed motifs and figures eventually coalesce into a longer waltz-like theme, and at one point there is even the surprising and enlivening presence of castanets. A dryad is a tree nymph in Greek mythology, and there is perhaps a sense of playfulness and of the freedom of a life lived amidst nature in the changeable tempos, shifting colours and fleeting

phrases of this piece, which one Finnish writer has described as ‘like a leaf quivering briskly in the woods’.

Undoubtedly it is a Sibelian curiosity, an experiment maybe in impressionistic nature-painting that could almost make one think that Sibelius was attempting his own concise and highly personal response to the Debussy of La mer and Images. Indeed, one might even mischievously link the sun-dappled Classical world it finally evokes to that of Ravel’s Daphnis and Chloé, were it not for the fact that this little piece predates the completion of that work by two years.

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PROGRAMME NOTES

Ludwig van BEETHOVEN 1770–1827

For Beethoven, the concerto was not a form to be taken lightly. Like Mozart, the first great Classical master of the genre, he composed concertos principally for his own instrument, the piano; but whereas Mozart’s output of piano concertos ran to nearly 30, Beethoven completed only five, each of them a dynamic and virtuosic conflict between soloist and orchestra. Compared to these dramas, his only completed violin concerto is a very different animal, a work of unprecedented warmth and serenity that its first audiences evidently found rather puzzling. ‘The opinion of connoisseurs admits that it contains beautiful passages, but confesses that the context often seems broken and that the endless repetition of unimportant passages produces a tiring effect’, ran one account of its first performance in Vienna in December 1806. Clearly, a little more action was expected, although the circumstances of the première sound like they may not have helped: Beethoven had rushed to complete the piece in time and the soloist, Franz Clement, was apparently forced to sight-read much of it at the concert. Clement himself, meanwhile, no doubt failed to show the concerto to best advantage by playing the second and third movements at the opposite end of the evening from the first, and inserting some virtuoso showpieces in between.

Although Beethoven knew how to play the violin, it was not really his instrument, so we should not be too surprised that his concerto does not adopt the confrontational and virtuoso tone of the piano concertos. And unlike the piano, the violin cannot accompany itself, with the result that the orchestra has to play along almost all of the time. Beethoven does not fight against this. Instead he turns it to advantage by writing a supremely conciliatory concerto in which the violin and orchestra are in agreement throughout, and as the great 20th-century Beethoven commentator

VIOLIN CONCERTO IN D MAJOR, OP. 61 Original cadenzas of the piano version by Beethoven, transcription for violin by Wolfgang Schneiderhan THOMAS ZEHETMAIR violin Allegro ma non troppo Larghetto – Rondo: Allegro

Donald Tovey said, ‘all its most famous strokes of genius are not only mysteriously quiet, but mysterious in radiantly happy surroundings.’ This is certainly true of the work’s unusual opening, where five gentle drum beats introduce the sublime first theme, and then proceed to dominate and unify the whole movement through repeating and recycling their insistent rhythm in different contexts. There is no menace in this (as well there could have been), and when the solo violin first enters it is not to contradict the orchestra, or even to contribute any new themes of its own, but to enrich the music with soaring embellishments and eloquent refinements of the movement’s glorious melodic material.

This non-aggressive attitude is even more noticeable in the placid slow movement, which seems to start out as a straightforward set of variations on the theme introduced right at the beginning on muted strings – so straightforward, indeed, that the music never leaves the key of G major and the solo violin at first offers no more than gentle accompanimental arabesques. After the third variation, however (a loud restatement of the theme by the orchestra alone), the soloist introduces a brief but sonorous new tune, which is then alternated with the main theme before a peaceful coda, a fanfarelike outburst from the strings and a short cadenza lead straight into the finale. Here again, the form is simple – a rondo whose uncomplicated treatment may owe much to Beethoven’s haste to complete the concerto, but whose recurring theme is irresistible nevertheless.

And there is real originality in the way in which the movement opens with the theme given out by the soloist over a bare, prompting accompaniment from the cellos and basses, and in the way that, just when you feel Beethoven has proved that he could carry on forever, he wittily brings the concerto to an end.

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

8 | London Philharmonic Orchestra

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Johannes BRAHMS

Symphony No. 2 in D major, Op. 73 Allegro non troppo Adagio non troppo Allegretto grazioso (Quasi Andantino) Allegro con spirito

1833–1897

If evidence were needed of the rewards of confronting life’s obstacles, Brahms’s Second Symphony provides it.

Brahms took the best part of two decades to compose his First Symphony, finally producing it at the age of 43 after years of reluctance to enter a field so dominated by the intimidating legacy of Beethoven. ‘You have no idea how it feels to hear that giant marching behind me’, he once wrote to a friend. That First Symphony seemed to embody something of Brahms’s hard-won victory in its typically Beethovenian journey from darkness to light (famously, it was dubbed ‘Beethoven’s Tenth’), yet within a year of finally clearing the symphonic path, Brahms had composed his Second Symphony, taking just a few months over it during the summer of 1877, and finding in it a relaxed, almost pastoral atmosphere that speaks of anything but creative struggle.

especially in a broad second theme that seems to be related to Brahms’s famous Wiegenlied (or ‘Lullaby’), the mood is never quite the same again. The command of emotional tone is masterful in this movement, but Brahms’s technical control is no less impressive; the three-note figure outlined by the cellos and basses in the very first bar reappears in many guises to be a crucial thematic unifier throughout the work.

The prevailing mood of the work is unmistakably sunny, yet this is far from being the whole story. Unlike the First, it both begins and ends in light, but while Brahms was undoubtedly overstating the case when he told friends that he ‘had never written anything so sad’ and that it would have to be printed ‘on black-edged paper’, his teases are not without justification. The Second is never tragic, but in its first two movements it offers music of profound melancholy, occasionally darkening to the elegiac.

The trumpets, trombone and tuba fall silent in the Allegretto, and the mood lightens for a rustic serenade in which a sedately piping main theme appears three times, interleaved with faster variations of itself.

The finale opens quietly but with barely concealed excitement, and indeed the joy cannot be contained for long, bursting free within 20 bars. Rarely, if ever, did Brahms show such rampant exuberance, yet even here his intellect maintains its grip; the generous theme of the second melody returns late on almost as a chant, albeit one whose syncopations impart an air of expectancy, before it is let loose and transformed again to power the music to a brilliant finish.

Such feelings are not evident as the symphony begins, its gentle triple-time and smooth melodic contours seeming to offer a world of unalloyed pastoral contentment, but it is not long before a quiet drum roll and some troubled chords from the trombones and tuba cloud the air; though the sun appears to return,

The second movement reaches depths of feeling as great as in any of Brahms’s works, its falling theme announced at the outset by cellos and rising countermelody on bassoons setting the mood for an Adagio of rich complexity and sustained passion. There is awe, perhaps even a hint of terror, in the fortissimo outburst towards the end, but the movement has a settled, if sombre, close.

Programme notes © Lindsay Kemp

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FUTURE CONCERTS

Wednesday 26 October 2011 | 7:30pm

Wednesday 2 November 2011 | 7:30pm

Chopin Piano Concerto No. 2 Shostakovich Symphony No. 8

Brahms Double Concerto for violin and cello Bruckner Symphony No. 7

Jaap van Zweden conductor Maria João Pires piano

Christoph Eschenbach conductor Nicola Benedetti violin Leonard Elschenbroich cello

‘Pires’s playing was unostentatious but commanding, controlled yet free-flying in its sensitivity to the fluidity of Chopin’s lines.’ The Guardian

Nicola Benedetti and Leonard Elschenbroich

Wednesday 16 November 2011 | 7:30pm Jaap van Zweden and Maria João Pires

Friday 28 October 2011 | 7:30pm JTI Friday Series R Strauss Don Juan Mozart Piano Concerto No. 23, K488 Rachmaninoff Symphonic Dances James Gaffigan conductor Paul Lewis piano

Tchaikovsky Violin Concerto Bruckner Symphony No. 4 Osmo Vänskä conductor Janine Jansen violin

Friday 25 November 2011 | 7:30pm JTI Friday Series Antonio José Suite, The Muleteer Rodrigo Concierto de Aranjuez Falla Suites Nos. 1 and 2, The Three-Cornered Hat Mussorgsky (orch. Ravel) Pictures at an Exhibition Eduardo Portal conductor Craig Ogden guitar

TO BOOK Tickets £9–£39 | Premium seats £65 Paul Lewis

‘Lewis’s attention to colour and texture gave his interpretation not only authority but also drew the listener onto another plane. It was not easy to come back.’ The Guardian

London Philharmonic Orchestra Ticket Office 020 7840 4242 | lpo.org.uk Mon–Fri 10am–5pm; no booking fee Southbank Centre Ticket Office | 0844 847 9920 southbankcentre.co.uk Daily 9am–8pm; transaction fees apply

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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 The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie and Zander Sharp Eric Tomsett Mrs Sonja Drexler Guy & Utti Whittaker 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 & Mrs Jeffrey Herrmann Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Howard & Sheelagh Watson Mr Laurie Watt Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough Ken Follett

Pauline & Peter Halliday Michael & Christine Henry Mr Glenn Hurstfield Mr R K Jeha Mr 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 Bill Yoe Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Edmund Pirouet 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 Charles Russell Destination Québec – UK Lazard Leventis Overseas Man Group plc 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 Arts and Business Allianz Cultural Foundation The Boltini Trust Britten-Pears Foundation The Candide Charitable Trust The Coutts Charitable Trust The Delius Trust Dunard Fund The Equitable Charitable Trust The Eranda Foundation The Fenton Arts Trust The Foyle Foundation The Jeniffer and Jonathan Harris Charitable Trust Hattori Foundation for Music and the Arts Capital Radio’s Help a London Child The Hobson Charity The Kirby Laing Foundation The Leverhulme Trust Lord and Lady Lurgan Trust Maurice Marks Charitable Trust Marsh Christian Trust

The Mercers’ Company Adam Mickiewicz Institute Paul Morgan Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund Newcomen Collett Foundation The Serge Prokofiev Foundation Serge Rachmaninoff Foundation The Reed Foundation The Seary Charitable Trust The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Steel Charitable Trust The Stansfield Trust The Bernard Sunley Charitable Foundation The Swan Trust John Thaw Foundation The Thistle Trust The Underwood Trust Garfield Weston Foundation Youth Music and others who wish to remain anonymous London Philharmonic Orchestra | 11

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Administration

Board of Directors

General Administration

Orchestra Personnel

Archives

Martin Höhmann Chair Stewart McIlwham Vice-Chair Sue Bohling Lord Currie* Jonathan Dawson* Gareth Newman George Peniston Sir Bernard Rix* Kevin Rundell Sir Philip Thomas* Timothy Walker AM†

Timothy Walker AM† Chief Executive and Artistic Director

Andrew Chenery Orchestra Personnel Manager

Philip Stuart Discographer

Sarah Thomas Librarian

Gillian Pole Recordings Archive

*Non-Executive Directors

The London Philharmonic Trust Victoria Sharp Chair Desmond Cecil CMG Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann Angela Kessler Clive Marks OBE FCA Julian Simmonds Timothy Walker AM† Laurence Watt American Friends of the London Philharmonic Orchestra, Inc.

Alison Atkinson Digital Projects Manager Finance David Burke General Manager and Finance Director

Ken Graham Trucking Instrument Transportation (Tel: 01737 373305)

Concert Management

Development

Roanna Gibson Concerts Director

Nick Jackman Development Director

Ruth Sansom Artistic Administrator

Harriet Mesher Charitable Giving Manager

Graham Wood Concerts, Recordings and Glyndebourne Manager

Alexandra Rowlands Corporate Relations Manager

Alison Jones Concerts Co-ordinator Jenny Chadwick Tours and Engagements Manager Jo Orr PA to the Executive / Concerts Assistant

Professional Services

Education & Community

Charles Russell Solicitors

Patrick Bailey Education and Community Director

Dr Louise Miller Honorary Doctor

Julia Boon Assistant Orchestra Personnel Manager

David Greenslade Finance and IT Manager

We are very grateful to the Board of the American Friends of the London Philharmonic Orchestra for its support of the Orchestra’s activities in the USA.

Crowe Clark Whitehill LLP Auditors

Michael Pattison Stage Manager

Matthew Freeman Recordings Consultant

Anne Findlay Education Manager Caz Vale Community and Young Talent Manager Richard Mallett Education and Community Producer

Melissa Van Emden Events Manager Laura Luckhurst Corporate Relations and Events Officer Elisenda Ayats Development and Finance Officer

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242 lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Photographs of Sibelius, Beethoven and Brahms courtesy of the Royal College of Music, London Front cover photograph © Benjamin Ealovega.

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Marketing Kath Trout Marketing Director Ellie Dragonetti Marketing Manager Rachel Fryer Publications Manager Helen Boddy Marketing Co-ordinator Samantha Kendall Box Office Manager (Tel: 020 7840 4242) Lucy Martin Intern Valerie Barber Press Consultant (Tel: 020 7586 8560)

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10/17/2011 11:30:21 AM