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Concert programme 2013/14 season Part of Southbank Centreâ€™s

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9/6/2013 12:14:31 PM

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 Wednesday 23 October 2013 | 7.30pm

Poulenc Piano Concerto (21’) Prokofiev Symphony No. 7 (31’) Interval Poulenc Stabat mater (33’)

Yannick Nézet-Séguin conductor Alexandre Tharaud piano Kate Royal soprano London Philharmonic Choir

This concert is being broadcast live by the BBC on Radio 3 Live In Concert. Listen online in HD Sound for 7 days at bbc.co.uk/radio3

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

Programme £3 Contents 2 Welcome 3 Tonight’s works in context 4 About the Orchestra 5 Leader 6 On stage tonight 7 Yannick Nézet-Séguin 8 Alexandre Tharaud 9 Kate Royal 10 London Philharmonic Choir 11 Programme notes 15 Poulenc Stabat mater text 18 Next concerts 19 Orchestra news 20 Catalyst: Double Your Donation 23 Supporters 24 LPO administration The timings shown are not precise and are given only as a guide.

Welcome

Welcome to Southbank Centre 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. 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 and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. 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. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. 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. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

Southbank Centre’s The Rest Is Noise, inspired by Alex Ross’s book The Rest Is Noise Presented by Southbank Centre in partnership with the London Philharmonic Orchestra. southbankcentre.co.uk/therestisnoise The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in general and classical music in particular. Inspired by Alex Ross’s book The Rest Is Noise, we use film, debate, talks and a vast range of concerts to reveal the fascinating stories behind the century’s wonderful and often controversial music. We have brought together the world’s finest orchestras and soloists to perform many of the most significant works of the 20th century. We reveal why these pieces were written and how they transformed the musical language of the modern world. Over the year, The Rest Is Noise focuses on 12 different parts. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes. If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this. Jude Kelly Artistic Director, Southbank Centre

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Tonight’s works in context

1890

1900

1891 Sergei Prokofiev born in Sontsovka, Russia (now in Ukraine). Carnegie Hall opened in New York City 1896 Henri Becquerel discovered radioactivity First modern Olympic games held in Athens 1899 Francis Poulenc born in Paris 1901 Death of Queen Victoria 1904 Prokofiev became the youngest ever student at the St Petersburg Conservatoire 1906 Kellogg’s began selling Corn Flakes 1908 First commercial radio transmission

1910

1912 Sinking of the RMS Titanic. Premiere of Schoenberg’s Pierrot Lunaire in Berlin 1914 Outbreak of World War I 1916 Albert Einstein published his Theory of General Relativity

1920

1918 End of World War I 1920 Beginning of Prohibition in the USA 1922 Creation of the Soviet Union (USSR)

1928 Alexander Fleming discovered penicillin

1930

1929 Wall Street Crash

1932 London Philharmonic Orchestra founded by Sir Thomas Beecham 1936 Abdication of King Edward VIII. Prokofiev composed Peter and the Wolf

1940

1939 Outbreak of World War II 1941 Japanese attack on Pearl Harbor 1945 End of World War II

1950

1949 Orwell’s Nineteen Eighty-Four published 1950 Premiere of Poulenc’s Piano Concerto in Boston 1951 Premiere of Poulenc’s Stabat mater in Strasbourg 1952 Premiere of Prokofiev’s Symphony No. 7 in Moscow 1953 Death of Sergei Prokofiev in Moscow

1960

1960 Alfred Hitchcock’s film Psycho released 1962 Cuban Missile Crisis 1963 Death of Francis Poulenc in Paris London Philharmonic Orchestra | 3

London Philharmonic Orchestra

After playing so perfectly prepared and beautifully detailed as this, the rest is noise indeed. The Guardian 2 October 2013, Royal Festival Hall: Vladimir Jurowski conducts Britten

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. It has since been headed by many of the greatest names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s 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 Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the

4 | London Philharmonic Orchestra

world’s top conductors and soloists. 2013/14 highlights include a Britten centenary celebration with Vladimir Jurowski; world premieres of James MacMillan’s Viola Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin including Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s ‘Organ’ Symphony; and two concerts of epic film scores. We welcome soloists including Evelyn Glennie, Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Emanuel Ax, Leonidas Kavakos, Julia Fischer and Simon Trpčeski, and a distinguished line-up of conductors including Christoph Eschenbach, Osmo Vänskä, Vasily Petrenko, Jukka-Pekka Saraste and Stanisław Skrowaczewski. Throughout the second half of 2013 the Orchestra continues its year-long collaboration with Southbank Centre in The Rest Is Noise festival, exploring the influential works of the 20th century. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for 50 years.

Pieter Schoeman leader

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 Mahler’s Symphony No. 1 with Vladimir Jurowski; Vaughan Williams’s Symphonies Nos. 5 & 7 with Bernard Haitink; and Mahler’s Das Lied von der Erde with Yannick NézetSéguin, Sarah Connolly and Toby Spence. 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 London Philharmonic Orchestra is committed to inspiring the next generation of musicians and audiences through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; fusion ensemble The Band; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, digital advances and social media have enabled the Orchestra to reach even more people across the globe: all its recordings are available to download from iTunes and, as well as a YouTube channel, iPhone app and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.

The Orchestra also 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 large and vital part of the Orchestra’s life: highlights of the 2013/14 season include visits to the USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain.

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 | 5

On stage tonight

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

Ilyoung Chae Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

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

Fiona Higham Ashley Stevens Marie-Anne Mairesse Nancy Elan Nynke Hijlkema Raja Halder Caroline Simon Sioni Williams Alison Strange Stephen Stewart

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Katherine Leek Benedetto Pollani Laura Vallejo Susanne Martens Emmanuella Reiter Daniel Cornford Martin Fenn Sarah Malcolm Helen Bevin Cellos Kristina Blaumane Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Elisabeth Wiklander Sue Sutherley Susanna Riddell Tom Roff Helen Rathbone Double Basses Kevin Rundell* Principal Laurence Lovelle George Peniston Richard Lewis Helen Rowlands Tom Walley Catherine Ricketts Laura Murphy Flutes Melkorka Ólafsdóttir Guest Principal Sue Thomas

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Chair supported by the Sharp Family

Piccolo Stewart McIlwham* Principal

Trombones Mark Templeton* Principal David Whitehouse

Oboes Ian Hardwick Principal Amy McKean

Bass Trombone Lyndon Meredith Principal

Cor Anglais Sue Böhling Principal

Tuba Lee Tsarmaklis* Principal

Chair supported by Julian & Gill Simmonds

Clarinets Robert Hill* Principal Katie Lockhart Bass Clarinet Paul Richards Principal Bassoons Gareth Newman* Principal Simon Estell Stuart Russell Horns John Ryan* Principal David Pyatt* Principal Chair supported by Simon Robey

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal

Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Sam Staunton Keith Millar Sarah Mason Sonia Barceló Harps Rachel Masters* Principal Chair supported by Friends of the Orchestra

Stephanie Beck Piano Janet Simpson

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

Yannick Nézet-Séguin

conductor

Yannick Nézet-Séguin became Music Director of The Philadelphia Orchestra at the start of the 2012/13 season, and has been Music Director of the Rotterdam Philharmonic Orchestra and Principal Guest Conductor of the London Philharmonic Orchestra since 2008. He has conducted all the major ensembles in his native Canada and has been Artistic Director and Principal Conductor of the Orchestre Métropolitain (Montreal) since 2000. Since his European debut in 2004, Yannick Nézet-Séguin has worked with many fine ensembles including the Dresden Staatskapelle, Berlin Philharmonic, Vienna Philharmonic, Staatskapelle Berlin, Bavarian Radio Symphony Orchestra, Accademia Nazionale di Santa Cecilia, Royal Stockholm Philharmonic Orchestra and Chamber Orchestra of Europe. Following his 2009 BBC Proms debut with the Scottish Chamber Orchestra, he returned the following year and again this summer with the Rotterdam Philharmonic Orchestra. He has also appeared at festivals in Edinburgh, San Sebastián (Spain) and Grafenegg (Austria). Engagements at summer festivals in North America have included Lanaudière, Vail Valley, Saratoga and Mostly Mozart. A notable opera conductor, Yannick made his Salzburg Festival debut in 2008 with a new production of Roméo et Juliette, returning in 2010 and 2011 for Don Giovanni. For New York’s Metropolitan Opera he has conducted Carmen, Don Carlo, Faust and La traviata, and returns for Rusalka this season. His 2011 debut at Teatro alla Scala, Milan (Roméo et Juliette) was followed in 2012 by his Royal Opera House, Covent Garden debut (Rusalka). For The Netherlands Opera, he has conducted The Makropoulos Case, Turandot and Don Carlo, all with the Rotterdam Philharmonic Orchestra. In 2011 he embarked on a major Mozart opera series for the Festspielhaus Baden-Baden.

Yannick Nézet-Séguin’s 2013/14 season opened with concert performances of Der fliegende Holländer with the Rotterdam Philharmonic Orchestra in Rotterdam, at the Théâtre des Champs-Elysées in Paris, and the Konzerthaus Dortmund, the last inaugurating the start of his term as Artist in Residence at the venue. In addition to his regular orchestral commitments, this season he also returns to the Berlin Philharmonic and Vienna Philharmonic, and leads The Philadelphia Orchestra on an extensive tour of China. Recent additions to Yannick’s extensive discography include The Rite of Spring with The Philadelphia Orchestra, a Tchaikovsky disc with the Rotterdam Philharmonic Orchestra and Lisa Batiashvili, Così fan tutte with the Chamber Orchestra of Europe, and Don Giovanni with the Mahler Chamber Orchestra, all for Deutsche Grammophon. With the Rotterdam Philharmonic Orchestra he has made recordings for EMI Classics and BIS Records. He also continues to enjoy a fruitful recording relationship with the London Philharmonic Orchestra for the LPO Label – this month sees the release of Mahler’s Das Lied von der Erde with Sarah Connolly and Toby Spence (LPO–0073) – and with the Orchestre Métropolitain for ATMA Classique. A native of Montreal, Yannick Nézet-Séguin studied piano, conducting, composition and chamber music at the Conservatoire de musique du Québec in Montreal and choral conducting at the Westminster Choir College in Princeton, New Jersey, before going on to study with renowned conductors, most notably the Italian maestro Carlo Maria Giulini. His honours include a prestigious Royal Philharmonic Society Award; Canada’s highly coveted National Arts Centre Award; and the Prix Denise-Pelletier, the highest distinction for the arts in Quebec, awarded by the Quebec government. In 2011 he received an honorary doctorate from the University of Quebec in Montreal, and in 2012 was appointed a Companion of the Order of Canada. Yannick’s new LPO Label CD, Mahler’s Das Lied von der Erde with soloists Sarah Connolly and Toby Spence, is on sale tonight from the Foyles merchandise stand in the Royal Festival Hall foyer. Yannick will be signing copies after the concert.

London Philharmonic Orchestra | 7

Alexandre Tharaud

piano

Alexandre’s newest album, Autograph, celebrates ten years of a rich and eclectic discography and comprises works he has performed as encores. Previous discs for Erato (formerly Virgin Classics) include an homage to Parisian cabaret of the early 20th century, Le Bœuf sur le toit; Bach concertos with Quebec-based chamber orchestra Les Violons du Roy; and a highly acclaimed recording of Scarlatti sonatas. Prior to this, Alexandre made a series of successful and awardwinning recordings for Harmonia Mundi: Rameau, Ravel (complete piano works), Bach (Italian Concerti), Couperin, Satie, and the first two of a series of three Chopin CDs. In recent seasons Alexandre has appeared at the Cologne Philharmonie, Bern Casino, Essen Philharmonie, Southbank Centre’s International Piano Series, Rudolfinum in Prague, Krakow Philharmonic, Théâtre des Champs-Elysées and Cité de la Musique in Paris, Opéra in Versailles, Amsterdam Concertgebouw, Teatro Colón in Buenos Aires, John F Kennedy Center in Washington DC, Vienna Musikverein and Seoul Arts Centre. His festival credits include Aix-en-Provence, Piano aux Jacobins, La Roque d’Anthéron, Edinburgh International Festival, Gergiev Festival in Rotterdam, BBC Proms, Sacrum-Profanum, Schleswig-Holstein, Rheingau, Ludwigsburg, Ruhr Piano Festival, Rimini, Domaine Forget and Lanaudière. Alexandre is a Resident Artist at the Maison de la Culture in Grenoble until June 2014, and in November this year will curate his own 10-day ‘Domaine privé’ project at the Cité de la Musique in Paris. As a soloist, Alexandre has performed with the Bavarian Radio, Frankfurt Radio, Estonian National, Toronto, Singapore, Taiwan, Umeå and Hamburg symphony orchestras; the Japan Philharmonic and Malaysian Philharmonic orchestras; and the RundfunkSinfonieorchester Saarbrücken, Munich Chamber Orchestra, Orchestre Philharmonique de Radio-France, Orchestre nationale du Capitole de Toulouse, Orchestre 8 | London Philharmonic Orchestra

National de Lyon, Bolshoi Theatre Orchestra, TonhalleOrchester Zürich, Orquestra Sinfônica do Estado de São Paulo and Tokyo Metropolitan Orchestra. Tonight is his debut with the London Philharmonic Orchestra. Later this season he will make debuts with the Royal Concertgebouw Orchestra, the Stockholm Radio Symphony Orchestra, the Orchestre Philharmonique du Luxembourg and the RAI Orchestra in Turin, and will return to the Orchestre National de Lyon and the Orchestre National de France. Alexandre’s adventurous approach to programming has resulted in a number of premieres such as ‘Hommages à Rameau’ and ‘Hommage à Couperin’ programmes which interweave works by the old masters and contemporary composers, as well as ‘Pianosong’, a programme inspired by popular songs. Alexandre performed two of Thierry Pécou’s most recent concertos: L’Oiseau Innumerable with orchestra, and Le Visage – Le Cœur with the choir Les Eléments under the direction of Joël Suhubiette, which was premiered in July 2013 at the Roque d’Anthéron Piano Festival. Last year, the Festival d’Automne commissioned Gérard Pesson’s Piano Concerto, of which Alexandre gave the world premieres with the Tonhalle-Orchester Zürich and the Frankfurt Radio Symphony Orchestra in Zürich, Frankfurt and Paris. Alexandre’s new album Autograph is on sale tonight from the Foyles merchandise stand in the Royal Festival Hall foyer, where Alexandre will be signing copies after the concert.

Kate Royal

soprano

Born in London, Kate Royal studied at the Guildhall School of Music & Drama and the National Opera Studio. Her many awards include the 2004 Kathleen Ferrier Award, the 2004 John Christie Award and the 2007 Royal Philharmonic Society Young Artist Award. In concert she has appeared with the Orchestra of the Age of Enlightenment and Sir Simon Rattle (BBC Proms and Festspielhaus Baden-Baden); the Bachakademie Stuttgart and Helmuth Rilling; the National Symphony Orchestra (Washington DC) and Rilling; the Royal Liverpool Philharmonic Orchestra and Vasily Petrenko; the Orchestra of La Scala, Milan, and Myung-Whun Chung; the Los Angeles Philharmonic and Pablo HerasCasado; Le Concert d’Astree and Emanuelle Haïm; the Scottish Chamber Orchestra and Robin Ticciati; the Boston Symphony Orchestra and Thomas Adès; both the Berlin Philharmonic and Bavarian Radio Symphony orchestras under Rattle; the Orpheus Chamber Orchestra; and at the Edinburgh Festival with Sir Charles Mackerras. She has appeared in recital throughout Europe and North America.

In opera she has sung Pamina (The Magic Flute) for Glyndebourne Festival Opera, the Lucerne Festival and the Royal Opera; Countess Almaviva (The Marriage of Figaro) and Governess (Britten’s The Turn of the Screw) for Glyndebourne on Tour; Helena (Britten’s A Midsummer Night’s Dream) for both the Teatro Real in Madrid and Glyndebourne Festival Opera; Poppea (Monteverdi’s L’incoronazione di Poppea) for English National Opera; Miranda (Thomas Adès’s The Tempest) for the Royal Opera; Handel’s L’Allegro for the Paris Opera; Micaela (Carmen) and Donna Elvira (Don Giovanni) for Glyndebourne Festival Opera; and Countess Almaviva for the Aix-en-Provence Festival. She made her Metropolitan Opera debut as Euridice. Opera engagements this season include her return to the Metropolitan Opera as Micaela; Pamina at the Baden-Baden Festival with the Berlin Philharmonic and Rattle; Lady Penelope Rich (Britten’s Gloriana) for the Royal Opera; and Governess for the Paris Opera.

Kate has recorded Mahler’s Symphony No. 4 with the Manchester Camerata, and Schumann’s Liederkreis with Graham Johnson for Hyperion. In October 2006 she signed an exclusive contract with EMI Classics, for whom her first solo recordings were a musical portrait with the Academy of St Martin in the Fields conducted by Edward Gardner, followed by 20th-century arias (Midsummer Night) with the Orchestra of English National Opera, also with Gardner. Her solo recital disc with Malcolm Martineau, A Lesson in Love, was released in 2011. Her concert engagements include the Philharmonia Orchestra under Esa-Pekka Salonen, the BBC Symphony Orchestra under Jiří Bělohlávek, the Berlin Philharmonic under Rattle, the Verbier Festival under Jaap van Zweden and the Rotterdam Philharmonic Orchestra under Yannick Nézet-Séguin. London Philharmonic Orchestra | 9

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 the Southbank Centre’s The Rest Is Noise festival, which includes tonight’s performance of Poulenc’s Stabat mater, the Choir has performed Britten’s War Requiem, Stravinsky’s Symphony of Psalms, Orff’s Carmina Burana and Tippett’s A Child of Our Time. Forthcoming engagements in the festival include Shostakovich’s Symphony No. 13 (Babi Yar), Arvo Pärt’s Magnificat and Berlin Mass, 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 Symphony No. 2 with Vladimir Jurowski, Beethoven’s Missa Solemnis with Christoph Eschenbach, and Dvořák’s Requiem and Stabat mater with Neeme Järvi. Sopranos | Catherine Allum, Annette Argent, Lisa Bartley, Laura Beeley, Millie Carden, Emily Clarke, Sally Cottam, Sheila Cox, Emma Craven, Sarah Elizabeth Deane-Cutler, Victoria Denard, Lucy Doig, Philippa Drinkwater, Rosha Fitzhowle, Claudie Gheno, Rachel Gibbon, Danielle Reece-Greenhalgh, Sally Jennifer Harrison, Catrin Harrison, Emma Hancox, Carolyn Hayman, Laura Hunt, Georgina Kaim, Mai Kikkawa, Jenni Kilvert, Judith Kistner, Olivia Knibbs, Junelle Kwon, Suzannah Lipmann, Clare Lovett, Rosalind Mann, Natasha Maslova, Janey Maxwell, Marj McDaid, Eileen Morgan, Megan Oldmeadow, Angelina Panozzo, Linda Park, Lydia Pearson, Nicola Race, Stacy Sauppe, Rebecca Schendel, Rachael Stokes, Louisa Sullivan, Tracey Szwagrzak, Susan Thomas, Jenny Torniainen, Susan Watts Altos | Jenny Adam, Deirdre Ashton, Phye Bell, Sally Brien, Andrei Caracoti, Lara Carim, Sam Castell-Finegold, Isabelle Cheetham, Noel Chow, Yvonne Cohen, Liz Cole, Elisa Dunbar, Andrea Easey, Lynn Eaton, Carmel Edmonds, Regina Frank, Kathryn Gilfoy, Henrietta Hammonds, Sophy Holland, Elizabeth Iles, Andrea Lane, Lisa MacDonald,

10 | London Philharmonic Orchestra

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 Choir also works with other leading orchestras, and last June joined forces with the London Symphony Orchestra and Chorus to perform Berlioz’s Grande Messe des Morts with Sir Colin Davis at St Paul’s Cathedral, recently released on CD by the LSO. The Choir also sings in Raymond Gubbay’s Classical Spectacular and Christmas concerts, and has appeared in gala concerts with Russell Watson and Katherine Jenkins. 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 how to join, visit www.lpc.org.uk Michelle Marple, Mary Moore, Sophie Morrison, Rachel Murray, Angela Pascoe, Jenny Ryall, Carolyn Saunders, Muriel Swijghuisen Reigersberg, Mayuko Tanno, Curzon Tussaud, Jenny Watson Tenors | Scott Addison, David Aldred, Robin Anderson, Geir Andreassen, Nick Arratoon, Chris Beynon, Lorne Cuthbert, Kevin Darnell, Michael Delany, John Farrington, Fred Fisher, Robert Geary, Stephen Hodges, Rob Home, Patrick Hughes, Jeong Hyun Jin, Andrew Mackie, Tony Masters, Luke Phillips, Miles Phillips, Keith Saunders, Paul Williams-Burton, Travis Winstanley, Tony Wren Basses | Jonathon Bird, Nick Brown, Adam Bunzl, Geoff Clare, Bill Cumber, Phillip Dangerfield, Marcus Daniels, Benjamin Fingerhut, Ian Frost, Paul Gittens, John Graham, Nigel Grieve, Peter Haselden, Mark Hillier, Stephen Hines, David Hodgson, Yaron Hollander, Martin Hudson, Aidan Jones, Steve Kirby, Anthony McDonald, John McLeod, Richard Miller, John D Morris, John G Morris, Ashley Morrison, Johan Pieters, Mike Probert, David Regan, John Salmon, Ed Smith, Daniel Snowman, Peter Sollich, Alex Thomas, James Torniainen, Hin-Yan Wong, John Wood

Programme notes

Speedread: Poulenc and Prokofiev This concert brings together music from the years around 1950 by two pianist-composers who had been colleagues and friends in Paris three decades earlier: the Frenchman Francis Poulenc, who died 50 years ago this year, and the Russian Sergei Prokofiev, who died 60 years ago this year. Poulenc’s Piano Concerto of 1949 recaptures his between-the-wars mixture of exuberance and lyricism, with occasional hard edges,

Francis Poulenc 1899–1963

Francis Poulenc was a pianist as well as a composer, and wrote with facility and flair for his instrument in solo and chamber music and in two concertos, for two pianos and for solo piano. He composed the latter between May and October 1949 as a vehicle for his second concert tour of north America, which was scheduled for the following season. He gave the first performance on 6 January 1950 with the Boston Symphony Orchestra (which had commissioned the work) and its conductor Charles Munch. After further performances over the next few weeks in Boston, Washington, New York and Montreal, Poulenc wrote drily to his old friend Darius Milhaud that ‘the Concerto has appealed to pianists, to the public and to certain critics.’ In a collection of interviews published in 1954, he described the work as, unlike the celebrated virtuoso concertos in the repertoire, ‘a light concerto, a kind of souvenir of Paris for pianist-composer’. The first movement of the Concerto, in C sharp minor, displays the mixture of sentimental melody and brightly coloured exuberance that had marked all Poulenc’s music since his emergence in the early 1920s. It begins with a sequence of three episodes at increasingly fast

while his 1950/51 setting of the Stabat mater, the mediaeval Latin prayer to the mother of the crucified Christ, is a touching memorial to a friend. Prokofiev’s farewell to the symphony, his Seventh of 1951/52, was initially conceived as a ‘Children’s Symphony’, and accordingly has a clarity of texture and construction, as well as an abundance of melody, which in tonight’s context may at times bring Poulenc to mind.

Piano Concerto Alexandre Tharaud piano 1 Allegretto 2 Andante con moto 3 Rondeau à la française

tempi: the first based on a simple melody of heartmelting pathos; the second blossoming into warmer and more wide-ranging lyricism; the third introducing a cheerful neo-Classical major-key tune. Previous ideas return and are joined by new ones, decorated by glittering piano figuration, on the way to a brief, fierce climax, with a slow, solemn, declamatory aftermath. The movement ends with a new variant of the second lyrical episode, followed by the opening melody, the cheerful tune and an abrupt coda. The E flat major Andante con moto begins with a calm melody, shared by the orchestra and the piano, over gently throbbing chords in a dactylic (long–short– short) rhythm. An interlude of sharp rising figures and tearing downward scales, at the initial speed of the first movement, precedes a graceful new idea for pairs of woodwind in parallel thirds. An expansion of the rising figure intervenes, amidst swirling arpeggios, and introduces a note of anguish. Calm is restored, and with it the dactylic rhythm and the opening melody. The finale, in F sharp minor and major, is a rondo on a tune in characteristically short, stubby two-bar phrases.

London Philharmonic Orchestra | 11

Programme notes continued

Amidst the wealth of subsidiary melody there are a couple of themes that sound like updated Mozart; and Poulenc also sneaked in a reference to the opening notes of Stephen Foster’s song ‘Old folks at home’, or ‘Way down upon the Swanee river’, which are also the closing notes of the French folk song ‘À la claire fontaine’ – a gesture of transatlantic amity to the Concerto’s first audiences. All these ideas are in 2/4 time; but at the end, with characteristically winning inconsequentiality, Poulenc jettisons them to embark on a little coda of athletic triplets in 3/4.

Sergei Prokofiev 1891–1953

Sergei Prokofiev composed the last of his seven symphonies during the final years of his life, which were overshadowed by ill health and the threat of censure, and censorship, by the Soviet authorities. He began it in December 1951, in response to a commission from the state radio system for a work for children’s audiences – an area in which he had established a considerable reputation, thanks to such pieces as Peter and the Wolf and the Winter Bonfire Suite. After he had completed the score in July 1952, it was subjected to the usual trial readings for official committees, which gave the goahead for the first performance in Moscow in October – the last public success of his lifetime. By that time, Prokofiev had scrapped the planned title of ‘Children’s Symphony’, feeling, according to his friend Mstislav Rostropovich, that the work was equally capable of appealing to adult listeners. But its original purpose nevertheless seems to have endowed it with a clarity of procedure and a transparency of harmony and texture that make it immediately attractive. The opening movement, in C sharp minor, sets out its thematic material in three well-defined paragraphs. The first group consists of a gracefully arching violin

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Symphony No. 7, Op. 131 1 Moderato 2 Allegretto – Allegro 3 Andante espressivo 4 Vivace

melody answered by a more threatening version in the lower strings, and later joined by busy semiquavers in woodwind and strings; the second theme is a noble, wide-ranging melody in the patriotic vein of Prokofiev’s opera War and Peace; the third theme is a spiky idea with a colouring of bells, piccolo, piano and harp that recalls the glitter of his ballet Cinderella. The compact development section is launched by the cellos and basses with a synthesis of the first and third themes, brings back the second theme at its climax, and ends with the bright third idea; the reprise is compressed, and rounded off by a short coda. The second movement is an F major scherzo in varieties of waltz time. It presents a sequence of contrasting ideas, accelerating and then relaxing into what sounds like a trio section, with a smoothly expressive melody for muted violins and then woodwind. But after that the whole sequence is repeated, in varied form and again arriving at the ‘trio’. A return to the graceful opening melody seems to presage a third time round the sequence, but instead leads to an athletic and assertive coda. The third movement is an A flat major Andante espressivo. Its backbone is a sequence of theme

and variations drawn from Prokofiev’s incidental music for a staged production of Pushkin’s Eugene Onegin in 1936, a project that had been abandoned without reaching performance; in its original context the music portrayed the young heroine Tatyana and her growing feelings for the older Onegin. The D flat major finale is a rondo with – after a double introduction – a rising, galop-like main theme reminiscent of some of Shostakovich’s ironically cheerful finales. In the episodes between statements of this rondo theme, three contrasting themes emerge: an airy idea in dotted rhythms led by the woodwind, a twisting melody for violins and clarinets, and a subdued march. The first two are restated in the final episode – after which the tempo slows for a return of the noble second theme of the first movement. This is followed by the spiky, glistening third theme of the same movement, leading to a coda which dies down to a subdued ending. After the first performance, the conductor Samuil Samosud pointed out to Prokofiev that this hardly constituted the optimistic conclusion expected of a Soviet symphony, and in the hope of official approval (and reward) the composer added a final return of the cheerful rondo theme. Both versions are printed in the posthumously published score; tonight’s performance restores Prokofiev’s original ending.

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

New for 2013/14 – LPO mini film guides This season we’ve produced a series of short films introducing the pieces we’re performing. We’ve picked one work from each concert and created a bite-sized introduction to the music and its historical background. Watch our Education & Community Director Patrick Bailey introduce Prokofiev’s Seventh Symphony: lpo.org.uk/explore/videos.html

London Philharmonic Orchestra | 13

Programme notes continued

Francis Poulenc

Stabat mater

1 2 3 4 5 6 7 8 9 10 11 12

The Stabat mater is scored for solo soprano, five-part choir (including baritones as well as basses) and a substantial orchestra. The 20 verses of the prayer are grouped into 12 movements, separated by shorter or longer pauses according to precise directions in the score. The musical language owes something to the Renaissance in its references to the old church modes and in passages of vocal counterpoint, and something to the Baroque in its use of rhythmic figures of the period and its foundation on a firm bass line – occasionally in familiar patterns such as the four-note descending scale underpinning the very start and the first choral entry. But the music is always characteristic of the composer, constructed in short, shapely melodic phrases, responsive to the text, over rich and supple chromatic harmonies.

Stabat mater dolorosa Cujus animam gementem O quam tristis Quae moerebat Quis est homo Vidit suum Eja mater Fac ut ardeat Sancta mater Fac ut portem Inflammatus et accensus Quando corpus

The text begins on the opposite page. Poulenc once told an interviewer that he had put ‘the best and most genuine part of myself’ into his sacred music. He regained the Catholic faith of his childhood in 1936 on a visit to the shrine of the Virgin Mary at Rocamadour in southern France, a place that remained important to him; and after that he maintained it sincerely, considering it not at all at odds with what he called his ‘Parisian sexuality’. When his friend Christian Bérard, a well-known theatre designer, died in 1949, Poulenc decided to commemorate him not with a Requiem but with a setting of the Stabat mater, the 13th-century Latin prayer for salvation addressed to the Virgin as mother of the crucified Christ. The published score is dedicated ‘to the memory of Christian Bérard, to commit his soul to Our Lady of Rocamadour’. Poulenc wrote the work – his first sacred composition for chorus and orchestra – at high speed in the summer and autumn of 1950, and orchestrated it the following April, in time for the premiere at the Strasbourg Festival in June.

14 | London Philharmonic Orchestra

Kate Royal soprano London Philharmonic Choir

As for the work’s overall design, Poulenc’s main concern seems to have been to ensure maximum variety between and sometimes within movements. While the prevailing mood is sombre and reverential, there are quick movements which are by turns violent, easy-going and relaxed; ‘Eja mater’ is even carefree in Poulenc’s blithe manner of the 1920s. And there is a wide range of textures, with a number of passages for unaccompanied voices – notably ‘Fac ut ardeat’, which is effectively a motet for the three upper choral parts with instrumental interjections – and with the solo soprano adding an extra element of dramatic expression to ‘Vidit suum’, ‘Fac ut portem’ and the closing vision of Paradise. Programme notes by Anthony Burton © 2013

Poulenc: Stabat mater text

1. Stabat mater dolorosa Chorus Stabat mater dolorosa Juxta crucem lacrymosa Dum pendebat filius.

The sorrowing mother stood weeping beside the cross where hung her son.

2. Cujus animam gementem Chorus Cujus animam gementem Contristatem et dolentem Pertransivit gladius.

Her groaning spirit, saddened and lamenting, a sword had pierced.

3. O quam tristis Chorus O quam tristis et afflicta Fuit illa benedicta Mater unigeniti.

Oh how sad and afflicted was that blessed mother of the only-begotten.

4. Quae moerebat Chorus Quae moerebat et dolebat Pia mater dum videbat Nati poenas inclyti.

She mourned and sorrowed gentle mother as she saw the sufferings of her glorious son.

5. Quis est homo Chorus Quis est homo qui non fleret Matrem Christi si videret In tanto supplicio?

Who is the man who would not weep if he saw the mother of Christ in such distress?

Quis non posset contristari Matrem Christi contemplari Dolentem cum filio?

Who could not sorrow contemplating the mother of Christ grieving with her son?

Pro peccatis suae gentis Vidit Jesum in tormentis Et flagellis subditum.

For the sins of his people she saw Jesus in torment and subjected to the scourge.

Please turn the page quietly London Philharmonic Orchestra | 15

Poulenc: Stabat mater text continued

6. Vidit suum Soprano and chorus Vidit suum dulcem natum Morientem desolatum Dum emisit spiritum.

She saw her sweet child dying in desolation as he gave up the spirit.

7. Eja mater Chorus Eja mater, fons amoris, Me sentire vim doloris Fac ut tecum lugeam.

Ah mother, source of love, let me feel the force of grief that I may weep with thee.

8. Fac ut ardeat Chorus Fac ut ardeat cor meum In amando Christum Deum Ut sibi complaceam.

Make my heart blaze with love of Christ God that I may please him.

9. Sancta mater Chorus Sancta mater, istud agas, Crucifixi fige plagas Cordi meo valide.

Holy mother, grant this, stamp the wounds of the crucified firmly on my heart.

Tui nati vulnerati, Tam dignati pro me pati, Poenas mecum divide.

That thy wounded son, who deigned to suffer for me, may share with me his sufferings.

Fac me vere tecum flere Crucifixo condolere Donec ego vixero.

Make me truly weep with thee grieve with thee for the crucified as long as I live.

Juxta crucem tecum stare Te libenter sociare In planctu desidero.

Beside the cross to stand with thee to join thee willingly in mourning I desire.

Virgo virginum praeclara, Mihi jam non sisamara, Fac me tecum plangere.

Virgin supreme among virgins, do not now be harsh to me, let me weep with thee.

16 | London Philharmonic Orchestra

10. Fac ut portem Soprano and chorus Fac ut portem Christi mortem, Passionis fac consortem, Et plagas recolere.

Grant I may bear Christ’s death, grant me a share in his passion, and remembrance of his wounds.

Fac me plagis vulnerari, Cruce hac inebriari Ob amorem filii.

Let me be wounded with his wounds, by this cross be filled with love for thy son.

11. Inflammatus et accensus Chorus Inflammatus et accensus, Per te, virgo, sim defensus In die judicii.

Inflamed and afire, through thee, virgin, let me be defended on the Day of Judgement.

Christe cum sit hinc exire Da per matrem me venire Ad palmam victoriae.

Christ, when I must pass away grant that through thy mother I may come to the palm of victory.

12. Quando corpus Soprano and chorus Quando corpus morietur, Fac ut animae donetur Paradisi gloria. Amen.

‘Francis Poulenc, the former prodigy of Les Six, reverted in the Thirties to the Catholicism of his childhood and made it his mission to bring ‘peasant devotion’ into his music. First in Litanies to the Black Virgin, then in the Mass in G, the Stabat mater, the Gloria and the faith-based drama Dialogue of the Carmelites, Poulenc deftly converted his lighter-than-air Twenties style into a medium of meditative simplicity. ’ Alex Ross, author, The Rest Is Noise southbankcentre.co.uk/therestisnoise

London Philharmonic Orchestra | 17

Next LPO concerts at Royal Festival Hall

Saturday 26 October 2013 | 7.30pm

Sunday 3 November 2013 | 12.00pm

Dutilleux Tout un monde lointain Shostakovich Symphony No. 13 (Babi Yar)

FUNharmonics Family Concert Britten The Young Person’s Guide to the Orchestra

Yannick Nézet-Séguin conductor Jean-Guihen Queyras cello Mikhail Petrenko bass Gentlemen of the London Philharmonic Choir

Chris Jarvis presenter Timothy Redmond conductor Tickets £5–£18 Free pre- and post-concert events around the Royal Festival Hall building: for details visit www.lpo.org.uk/education/funharmonics-activities.html

Wednesday 30 October 2013 | 7.30pm Ligeti Lontano Lutosławski Cello Concerto* Schnittke Symphony No. 1 Michail Jurowski conductor Johannes Moser cello * Generously supported by the Adam Mickiewicz Institute as part of the Polska Music programme – Centenary of Witold Lutosławski 2013.

Saturday 2 November 2013 | 7.30pm Messiaen Des canyons aux étoiles (From the Canyons to the Stars) Christoph Eschenbach conductor Tzimon Barto piano John Ryan horn Andrew Barclay & Erika Öhman percussion Free pre-concert event 6.00–6.45pm | Royal Festival Hall Colour and Eternity – the music of Olivier Messiaen Exploring the rich sound world of Olivier Messiaen, this talk delves into his musical language, where birdsong, faith and colour collide to produce one of the most original musical voices in the 20th century. A new piano miniature inspired by Des canyons aux étoiles will also be performed. This talk forms part of the Royal Philharmonic Society Bicentenary Celebrations, 1813–2013.

Wednesday 6 November 2013 | 7.30pm Sofia Gubaidulina Offertorium Arvo Pärt Magnificat Arvo Pärt Cantus in memoriam Benjamin Britten Arvo Pärt Berlin Mass Tõnu Kaljuste conductor Sergej Krylov violin London Philharmonic Choir Supported by the Estonian Embassy in London and the Ambache Charitable Trust.

Free pre-concert performance 6.00–6.45pm | Royal Festival Hall LPO Foyle Future Firsts, conducted by Ben Gernon, present a programme including Galina Ustvolskaya’s final work – Symphony No. 5 (Amen), a haunting setting of The Lord’s Prayer.

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

18 | London Philharmonic Orchestra

Orchestra news

Win a signed copy of The Rest Is Noise

NOISE and Student Pulse

We’re offering you the chance to win a signed copy of Alex Ross’s The Rest Is Noise, the book that inspired 2013’s year-long festival of 20th-century music. Just send us a short (20–40 word) review of an autumn 2013 LPO concert and we will select a winner at random to receive a copy of this seminal book, signed by the author himself.

Are you a full-time student? If so, you’re eligible for £4 best available seats to selected LPO concerts, plus occasional free post-concert drinks.

To enter, simply email admin@lpo.org.uk with The Rest Is Noise audience review in the subject line and include your full name, date of the concert attended and a short review of your concert experience. We look forward to hearing from you! Why not share your mini-review on Twitter too? Find us at @LPOrchestra

We’ve recently launched a brand new website, designed to work alongside our new ticketing software system. As well as refreshing the look of the website and making it much more user-friendly and easier to navigate, we’ve introduced some new features to help you make the most of your visit: Choose your own seats when booking online Let your friends know what you’ve booked via Facebook and Twitter Download free programme notes in advance Listen to clips of the music before you book Get to know the artists and the music through videos and podcasts Browse and shop with your smartphone or tablet on our mobile site

We hope you enjoy exploring the new site. If you have any feedback or suggestions, we’d love to hear from you: email admin@lpo.org.uk Visit the new site: lpo.org.uk

The LPO is also a part of Student Pulse, a London-wide scheme bringing together all the top London orchestras and letting students know when student tickets are available for their concerts. Visit lpo.org.uk/noise to find out more.

New CD: Yannick Nézet-Séguin conducts Mahler’s Das Lied von der Erde

New LPO website

• • • • • •

Our next £4 NOISE concert is a fantastic programme of the weird and wonderful on Wednesday 30 October, with music by Schnittke, Ligeti and Lutosławski. Our next NOISE Bar is on Saturday 7 December, when student tickets are just £4, and you can come along after the concert for a free beer courtesy of the Orchestra’s Principal Beer Sponsor, Heineken.

This month’s release on the LPO CD Label is Mahler’s Das Lied von der Erde, conducted by Yannick Nézet-Séguin with soloists Sarah Connolly and Toby Spence (LPO–0073). It was recorded live in concert at Royal Festival Hall on 19 February 2011. The CD is priced £9.99 and is on sale this evening from the Foyles merchandise desk in the Royal Festival Hall foyer, where Yannick Nézet-Séguin will be signing copies after the concert. It is also available from lpo.org.uk/shop, the LPO Ticket Office (020 7840 4242) and all good CD retailers. Alternatively you can download it from iTunes, Amazon and others, or stream via Spotify.

London Philharmonic Orchestra | 19

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 Haitink Patrons Moya Greene Tony and Susie Hayes Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Sir Bernard Rix TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker Manon Williams

20 | London Philharmonic Orchestra

Pritchard Donors Anonymous Lady Jane Berrill Linda Blackstone Michael Blackstone Jan Bonduelle Richard Brass Britten-Pears Foundation Lady June Chichester Lindka Cierach Mr Alistair Corbett Mark Damazer David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen 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 Geoff & Meg Mann

Ulrike Mansel Marsh Christian Trust John Montgomery Rosemary Morgan John Owen Edmund Pirouet Mr Michael Posen John Priestland Ruth Rattenbury Tim Slorick Howard Snell Stanley Stecker Lady Marina Vaizey Helen Walker Laurence Watt Des & Maggie Whitelock Victoria Yanakova Mr Anthony Yolland

w A ne ill be lexa w alb sign ndre um in Th a f t g c o a ra er pie ud the s co of h nc is ert

ALEXANDRE THARAUD R E C O R D S E X C L U S I V E LY F O R E R A T O

Out now on CD and digital download Erato is a Warner Music Group Company

www.warnerclassics.com

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Exceptional opera across the country this autumn, with tickets from just £18 On stage BRITTEN

The Rape of Lucretia

Marking Britten’s centenary, a new production directed by Fiona Shaw Plus HUMPERDINCK Hänsel und Gretel Laurent Pelly’s deliciously witty production for all ages DONIZETTI L’elisir d’amore Annabel Arden’s take on Donizetti’s most intoxicating comedy

On screen WAGNER

Tristan und Isolde October – December Book now at glyndebourne.com 22 | London Philharmonic Orchestra

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 Simon Robey The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Manon Williams & John Antoniazzi Principal Benefactors Mark & Elizabeth Adams Jane Attias 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 Howard & Sheelagh Watson Mr Anthony Yolland Benefactors Mrs A Beare Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett William and Alex de Winton Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry Malcolm Herring Ivan Hurry Mr Glenn Hurstfield

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

Mayor’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The Ann and Frederick O’Brien Charitable Trust PRS for Music Foundation The R K Charitable Trust Serge Rachmaninoff Foundation The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust Sir Siegmund Warburg’s Voluntary Settlement Garfield Weston Foundation Youth Music and others who wish to remain anonymous

London Philharmonic Orchestra | 23

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 Lord David Curry 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 Martin Southgate Sir Philip Thomas 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 Peter M. Felix CBE 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

Orchestra Personnel

Public Relations

Andrew Chenery Orchestra Personnel Manager

Albion Media (Tel: 020 3077 4930)

Chief Executive

Sarah Thomas Librarian (maternity leave)