London Philharmonic Orchestra programme 26 Mar 2014

Concert programme 2013/14 season

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader PIETER SCHOEMAN Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Wednesday 26 March 2014 | 7.30pm

Poulenc Organ Concerto in G minor (19’) Berlioz Les nuits d’été (32’) Interval Saint-Saëns Symphony No. 3 in C minor (Organ) (34’)

Yannick Nézet-Séguin conductor Sarah Connolly mezzo soprano James O’Donnell organ

Concert supported by

Part of Southbank Centre’s festival Pull Out All the Stops, celebrating the restoration of the Royal Festival Hall organ and its 60th birthday.

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

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

Programme £3 Contents 2 Welcome

LPO 2014/15 season 3 On stage tonight 4 About the Orchestra 5 Leader 6 Yannick Nézet-Séguin 7 Sarah Connolly

James O’Donnell 8 Programme notes 10 Song texts 16 Next concerts 17 Orchestra news 18 Catalyst: Double Your Donation 19 Supporters 20 LPO administration The timings shown are not precise and are given only as a guide.

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

Welcome

Welcome to Southbank Centre

LPO 2014/15 season now on sale

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

Browse and book online at lpo.org.uk or call us on 020 7840 4242 to request a season brochure.

Highlights of the new season include: •

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

•

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

•

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

•

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

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

•

RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre.

Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

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

•

Premieres too of a Violin Concerto by outgoing Composer in Residence Julian Anderson, a children’s work, The Pied Piper of Hamelin, by Colin Matthews, and a new piece for four horns

by James Horner (a double-Oscar winner for his score to the film Titanic).

•

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

•

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

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

If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon.

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

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

2 | London Philharmonic Orchestra

On stage tonight

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

Katalin Varnagy Chair supported by Sonja Drexler

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

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

Nancy Elan Fiona Higham Nynke Hijlkema Marie-Anne Mairesse Ashley Stevens Lorenzo Gentili-Tedeschi Imogen Williamson Sioni Williams Alison Strange Ksenia Berezina

Violas Hung-Wei Huang Guest Principal Cyrille Mercier Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Daniel Cornford Naomi Holt Isabel Pereira Cellos Caroline Dale Guest Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Elisabeth Wiklander Sue Sutherley Susanna Riddell Tom Roff Sibylle Hentschel Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Helen Rowlands Tom Walley Jeremy Watt

Flutes Katie Bedford Guest Principal Sue Thomas* Chair supported by the Sharp Family

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

Tom Rainer

Stewart McIlwham* Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick Principal Michael O’Donnell Cor Anglais Sue Böhling Principal Chair supported by Julian & Gill Simmonds

Clarinets Robert Hill* Principal Emily Meredith Bass Clarinet Paul Richards Principal Bassoons Ben Hudson Guest Principal Gareth Newman* Contrabassoon Simon Estell Principal Horns David Pyatt* Principal Chair supported by Simon Robey

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

Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar Harp Rachel Masters* Principal Chair supported by Friends of the Orchestra

Pianos Catherine Edwards John Alley * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

‘The LPO are an orchestra on fire at the moment.’

Bachtrack.com, 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 a reputation as one of the UK’s most dynamic and forward-looking orchestras.

As well as its concert performances, the Orchestra also records film soundtracks, has its own record label, and enhances the lives of thousands of people every year through activities for schools and local communities.

The Orchestra was founded by Sir Thomas Beecham in 1932, and since then its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the current Principal Conductor and Artistic Advisor, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor.

The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. 2013/14 highlights include a Britten centenary celebration with Vladimir Jurowski including the War Requiem and Peter Grimes; world premieres of James MacMillan’s Viola Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin; and a stellar array of soloists including Evelyn Glennie, Mitsuko Uchida,Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Emanuel Ax and Simon Trpčeski. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long festival The Rest is Noise, exploring the influential works of the 20th century.

The London Philharmonic Orchestra enjoys flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for 50 years. The Orchestra also tours internationally, performing concerts to sell-out audiences worldwide.

Highlights of the 2013/14 season include visits to the

4 | London Philharmonic Orchestra

USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain, and plans for 2014/15 include returns to many of the above plus visits to Turkey, Iceland, the USA (West and East Coast), Canada, China and Australia.

The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, Hugo, and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 75 releases available on CD and to download. Recent additions include Brahms’s Symphonies Nos. 3 & 4 and Mahler’s Symphony No. 1 with Vladimir Jurowski; Orff’s Carmina Burana with Hans Graf; Vaughan Williams’s Symphonies Nos. 5 & 7 with Bernard Haitink; Mahler’s Das Lied von der Erde with Yannick Nézet-Séguin, Sarah Connolly and Toby Spence; and a disc of works by the Orchestra’s Composer in Residence, Julian Anderson.

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics.

The London Philharmonic Orchestra is committed to inspiring the next generation through its BrightSparks schools’ concerts and FUNharmonics family concerts; the Leverhulme Young Composers programme; 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 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 leader

© Patrick Harrison

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

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra.

He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in

St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall.

As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim.

He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.

In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance.

PALAZZETTO BRU ZANE The vocation of the Palazzetto Bru Zane – Centre de musique romantique française is to favour the rediscovery of the French musical heritage of the years 1780-1920 and obtain international recognition for that repertoire. Housed in Venice in a palazzo dating from 1695, specially restored for the purpose, the Palazzetto Bru Zane – Centre de musique romantique française is one of the achievements of the Fondation Bru. Combining artistic ambition with high scientific standards, the Centre reflects the humanist spirit that guides the actions of that foundation. The Palazzetto Bru Zane’s main activities, carried out in close collaboration with numerous partners, are research, the publication of books and scores, the organisation and international distribution of concerts, support for teaching projects and the production of CD recordings.

BRU-ZANE.COM

London Philharmonic Orchestra | 5

Yannick Nézet-Séguin

© Marco Borggreve

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 in 2013 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 returned for Rusalka earlier 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.

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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 Bavarian Radio Symphony orchestras, and leads The Philadelphia Orchestra on an extensive tour of China.

Recent additions to Yannick’s extensive discography include the complete Schumann symphonies with the Chamber Orchestra of Europe, The Rite of Spring with The Philadelphia Orchestra, a Tchaikovsky disc with the Rotterdam Philharmonic and Lisa Batiashvili, and Così fan tutte, also with the Chamber Orchestra of Europe.

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 – Brahms’s German Requiem (LPO-0045) was released in 2010, and November 2013 saw the release of Mahler’s Das Lied von der Erde with Sarah Connolly and Toby Spence (LPO–0073).

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 recent 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.

James O’Donnell

mezzo soprano

organ

Born in County Durham, mezzosoprano Sarah Connolly studied piano and singing at the Royal College of Music, of which she is now a Fellow. She was made a CBE in the 2010 New Year’s Honours List. In 2011 she was honoured by the Incorporated Society of Musicians and presented with the Distinguished Musician Award. She was also the recipient of the Royal Philharmonic Society’s 2012 Singer Award.

James O’Donnell is one of Britain’s leading organists and choral conductors. Since 2000 he has been Organist and Master of the Choristers of Westminster Abbey, where he is responsible for the direction of the music, both at the daily services and for the many national and state occasions that take place there. Recent highlights have included the wedding of The Duke and Duchess of Cambridge, the visit of Pope Benedict XVI, and concert tours to the Far East, Australia and the USA.

Her operatic appearances include Fricka (Das Rheingold and Die Walküre) at Covent Garden; Purcell’s Dido at La Scala; Komponist (Ariadne auf Naxos) and Clairon (Capriccio) at the Metropolitan Opera; Gluck’s Orfeo at the Bayerische Staatsoper, Munich; the title role in Giulio Cesare and Brangäne (Tristan und Isolde) at the Glyndebourne Festival; Sesto (La clemenza di Tito) at the Aix-en-Provence Festival; Phèdre (Hippolyte et Aricie) at the Paris Opera; and and Nerone (L’Incoronazione di Poppea) at the Maggio Musicale in Florence and at the Gran Teatro del Liceu in Barcelona.

She has also sung Octavian (Der Rosenkavalier) for Scottish Opera; Komponist for the Welsh National Opera; the title role in Maria Stuarda and Roméo (I Capuleti e i Montecchi) for Opera North; and Octavian, Romeo, Sesto, Agrippina, Xerxes, Ariodante, Ruggiero Alcina, Didon (Les Troyens) and the title roles in The Rape of Lucretia and Medea at English National Opera.

Her many concert engagements include appearances at the Aldeburgh, Edinburgh, Lucerne, Salzburg, Tanglewood and Three Choirs festivals and at the BBC Proms where, in 2009, she was a memorable guest soloist at the Last Night. Much in demand with the world’s great orchestras, she works regularly with conductors such as Vladimir Jurowski, Yannick Nézet-Séguin, Riccardo Chailly, Sir Mark Elder, Daniel Harding, Philippe Herreweghe, Sir Simon Rattle and the late Sir Colin Davis.

© Clare Clifford

© Peter Warren

Sarah Connolly

James O’Donnell studied as a Junior Exhibitioner at the Royal College of Music and then as Organ Scholar of Jesus College, Cambridge. After having served for six years as Assistant Master of Music, he was appointed Master of Music at Westminster Cathedral at the age of 26. Under his direction the Cathedral Choir won the Gramophone Record of the Year award with a Hyperion recording of Masses by Martin and Pizzetti and became the first choir to be honoured with a Royal Philharmonic Society Award (1999).

As an organist, James O’Donnell has appeared in concert all over the world, including the USA, Japan, Australia, New Zealand and throughout Europe and the UK, including appearances at the BBC Proms. He was President of the Royal College of Organists from 2011–13. He is Music Director of St James’s Baroque and holds Visiting Professorships of Organ and Choral Conducting at the Royal Academy of Music, of which he was elected to Honorary Membership in 2002. He has been elected to Fellowship of the Royal College of Music and Honorary Fellowship of Jesus College, Cambridge.

He has also been awarded the Papal honour of Knight Commander of St Gregory, and in 2013 received an honorary DMus from the University of Aberdeen.

Sarah Connolly has recorded prolifically and twice been nominated for a Grammy Award.

London Philharmonic Orchestra | 7

Programme notes

Speedread A few months ago the eight-year project to restore and re-shape the famous Royal Festival Hall organ was completed, and the results shouldn’t be too difficult to spot from your seat. Tonight’s concert is book-ended by two masterworks of orchestral music that throw the spotlight onto the so-called ‘King of Instruments’.

Organs are to French churches what choirs are to English ones: the embodiment of a venerable tradition of sacred music that has spawned countless masterpieces and continues to do so. They might not have been conceived as sacred works, but neither the concerto by Poulenc nor the symphony by Saint-Saëns would exist in their current form had France and her churches not cleaved to organs in the 19th century and changed the nature of their purpose and sound.

Francis Poulenc 1899–1963

When Francis Poulenc was growing up in Paris, the city was the centre of the art-music universe. Debussy had given birth to modernism here; Stravinsky had unleashed his game-changing Rite of Spring here. All the way from the streets of Harlem on the other side of the Atlantic, the intoxicating rhythms of jazz had found their way here too.

The latter proved particularly influential among a group of Parisian composers who established something of a counter-culture. As a reaction against the big, bold gestures of Debussy and Stravinsky (and indeed Hector Berlioz), the composers who formed the collective ‘Les Six’ erred towards the light-hearted and of-the-moment in their music. Poulenc was one of them, but in a sense

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Both works are determinedly secular, arresting, restrained and exhibitionist. Both also contain passages that clearly reference France’s church music tradition.

In between the two, staying in France but countering the heavy wind of the organ with the delicate breath of the human voice, are Berlioz’s songs written to poetry by his friend Théophile Gautier. Here was a composer used to making huge love-fuelled gestures with huge orchestras. But in Les nuits d’été Berlioz captures the more vulnerable, introspective side of his romantic urge. In their sensuousness and grace, Berlioz’s songs were said to have sowed the seeds for another tradition that took root in French music: its melodious delicacy and colour.

Organ Concerto in G minor James O’Donnell organ Andante – Allegro giocoso – Andante moderato – Tempo Allegro, molto agitato – Très calme. Lent – Tempo de l’Allegro initial –Tempo d’introduction: Largo

he was also the exception. He subscribed to the group’s quest for directness of expression and slimmed-down musical textures, but a certain depth and darkness lay behind Poulenc’s work that has undoubtedly contributed to its posterity.

The Organ Concerto bears that theory out. Poulenc described the piece as ‘grave and austere’, but it launches with a wildly tongue-in-cheek refraction of music then two centuries old: the opening organ motif is a spiked, discordant reference to the organ’s godfather, Johann Sebastian Bach. As it proceeds through seven connected sections, the piece embraces a far wider range of emotions than Poulenc’s two previous keyboard concertos had.

As in, for example, the second section, Allegro giocoso, which appears to jerk the organ out of the church and into the fairground – from one traditional home to another. There’s tenderness in the ensuing Andante moderato, the heart of the work and a movement that through antiphonal exchanges from organ and strings blossoms into something almost Romantic. It could have been this movement that prompted Poulenc to leap up onto the stage during an early rehearsal of the piece and ask the strings to imagine they were playing the famous ‘Méditation’ from Massenet’s ultraRomantic opera Thaïs. But the mischievous prankster of Poulenc’s youth is back in the rhapsodic chase of the Tempo Allegro, which cranks upwards through a series of doom-laden Mozartian intervals before what feels like another (and a now more respectful) homage to Bach in the air-like movement Très calme.

The composer himself described the Organ Concerto as ‘Poulenc on the way to the cloister’, and the clearest vision of his return to Catholicism – prompted by the sudden death of a colleague – is arguably found in the Concerto’s final pages. The sardonic opening gesture returns, but then rocking phrases from the organ preface a sort of muted procession as a solo viola overlays a bed of breathy, sensuous organ chords. The piece was first performed by soloist Maurice Duruflé and strings from the Orchestre de Paris in 1938 at the home of its commissioner the Princesse Edmond de Polignac (otherwise known as Winaretta Singer, she of sewing machine fame). ‘Its profound beauty haunts me’, remarked the Princess after that performance, and it could well have been those beatific final pages that made it so.

Hector Berlioz

Les nuits d’été (Summer Nights)

1803–69

It wasn’t so much the opposite sex that prompted such an overwhelming and all-encompassing reaction from Hector Berlioz, as his own capacity to fall hopelessly in love with members of it. The composer famously fell head-over-heels for Irish actress Harriet Smithson after seeing her perform on stage just once – a predicament that spawned the giant outpouring of emotions that is his Symphonie fantastique.

Berlioz, though, wasn’t just an emotional romantic, he was an artistic one too. Thus he was obliged to react to the predicament of love as any artist does – with strength of emotion, yes, but also with a probing examination, brave forethought, and perhaps even a dash of poignancy and cynicism. He needed to do more than simply wear his heart on his sleeve, and soon

Sarah Connolly mezzo soprano 1 Villanelle 2 Le spectre de la rose 3 Sur les lagunes 4 Absence 5 Au cimetière 6 L’île inconnue

enough a collection of poetry by his friend Théophile Gautier prompted him to do so.

Gautier’s poems, six of which Berlioz set for voice and piano in 1841, are centred on love passionate, unrequited and lost. Berlioz was no pianist, and in their original form the songs lacked something even by the composer’s own admission. Fifteen years later Berlioz was prompted to orchestrate five of the six songs by his publisher (Absence had already been orchestrated in 1843). Enhanced by Berlioz’s distinctive orchestral touch and key changes, the songs have remained in the repertoire ever since.

Continued overleaf

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Programme notes and song texts

Musicologist Alfred Einstein commented that with Les nuits d’été, Berlioz ‘sowed the seeds for the entire musical lyricism of the 19th century in the French language – its colour, noble sentimentality, refined sensuousness and grace.’ There’s no evidence to suggest Berlioz intended the songs solely for performance as a single cycle: most are dedicated to different singers and their original keys vary in range. When they are performed together, however, the six are unified by their distinct melodic beauty, languor and poignant harmonic twists.

After the feigned naiveté of Villanelle in simple, threeversed strophic form, La spectre de la rose appears like a waking dream, and borrows some of its material from Berlioz’s own Roméo et Juliet symphony (the

introduction on muted cello is also an addition subsequent to the piano version). Each verse of Sur les lagunes, a despairing lament for a dead lover, ends with the same desperate exclamation. The soloist calls out passionately in Absence, which conveys a touching sense of longing, while in Au cimetière the pain is even more marked than that of Sur les lagunes – its accompaniment emphasising so with harmonic restlessness and eerie tone colours. In L’île inconnue the mood returns to the free-spirited sentiments of the cycle’s opening.

Berlioz depicts an exhilarating, surging ocean in his accompaniment as a young sailor tempts a pretty girl to join him on his adventures, and there’s playful irony in the suggestion that true love might ultimately be unattainable. Berlioz himself could surely never have entertained that thought.

1 Villanelle

Country Song

Quand viendra la saison nouvelle, Quand auront disparu les froids, Tous les deux, nous irons, ma belle, Pour cueillir le muguet aux bois; Sous nos pieds égrenant les perles, Que l’on voit au matin trembler, Nous irons écouter les merles siffler.

When the new season comes, when the frosts have gone, you and I, my dearest, will go picking lily of the valley in the woods; our feet will scatter the dewdrops that tremble in the morning light.

We’ll listen to the blackbirds’ call.

Le printemps est venu, ma belle, C’est le mois des amants béni; Et l’oiseau, satinant son aile, Dit ses vers au rebord du nid.

Oh! viens donc sur ce banc de mousse Pour parler de nos beaux amours, Et dis-moi de ta voix si douce, ‘Toujours!’

Spring has come, my dearest, the month adored by lovers, and on the edge of its nest the bird sings poetry as it preens its feathers.

Oh, come and talk about our beautiful love on this mossy bank, and say in your soft voice, ‘For ever!’

Loin, bien loin, égarant nos courses, Faisant fuir le lapin caché, Et le daim au miroir des sources Admirant son grand bois penché; Puis chez nous, tout heureux, tout aises, En paniers enlaçant nos doigts, Revenons, rapportant des fraises des bois.

As we wander far, far away, let’s scare away the lurking rabbit and the buck admiring its great antlers mirrored in a brook.

Then let’s go back home, happy and at ease, our fingers entwined, carrying baskets of wild strawberries.

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2 Le spectre de la rose

The Ghost of the Rose

Soulève ta paupière close Q’effleure un songe virginal!

Je suis le spectre d’une rose Que tu portais hier au bal.

Tu me pris, encore emperlée Des pleurs d’argent, de l’arrosoir, Et parmi la fête etoilée Tu me promenas tout le soir.

Open those eyelids, lost in girlish dreams!

I am the ghost of a rose you wore to the ball.

You picked me still sparkling with silver tears from watering and you paraded me at the glittering fête all evening long.

O toi qui de ma mort fus cause, Sans que tu puisse le chasser, Toutes les nuits mon spectre rose A ton chevet viendra danser.

Mais ne crains rein, je ne réclame Ne messi ni De Profundis; Ce léger parfum est mon âme, Et j’arrive du paradis.

O you, who caused my death, every night my rose-ghost will come and dance at your bedside, and you will not be able to drive it away.

But have no fear, I ask for neither a Mass nor a funeral service; this soft perfume is my soul and I come from Paradise.

Mon destin fut digne d’envie, Et pour avoir un sort si beau, Plus d’un aurait donné sa vie; Car sur ton sein j’ai mon tombeau, Et sur l’albâtre où je repose Un poète avec un baiser, Écrivit: ‘Ci-gît une rose, Que tous les rois vont jalouser.’

My fate was enviable; many would have given their lives for so beautiful an end.

For my grave is on your breast and on the pure whiteness where I rest a poet wrote, with a kiss: ‘Here lieth a rose which all kings would envy.’

3 Sur les lagunes

Over the lagoon

Ma belle amie est morte, Je pleurerai toujours; Sous la tombe elle emporte Mon âme et mes amours.

Dans le ciel, sans m’attendre, Elle s’en retourna; L’ange qui l’emmena Ne voulut pas me prendre.

Que mon sort est amer!

Ah! sans amour s’en aller sur la mer!

My beautiful love is dead, I’ll weep for ever.

Beneath the grave she has taken my soul and my love.

She went back to heaven without waiting for me; the angel that took her left me behind.

How bitter is my fate!

Ah, left to sail away loveless on the sea!

La blanche creature Est couchée au cercuil; Comme dans la nature

The fair creature lies in her coffin; As in nature itself, Please turn the page quietly London Philharmonic Orchestra | 11

Song texts continued

Tout me paraît en deuil!

La colombe oubliée Pleure et songe à l’absent.

Mon âme pleure et sent Qu’elle est déparaillée.

Que mon sort est amer!

Ah! sans amour s’en aller sur la mer!

everything seems to be mourning: The abandoned dove weeps and dreams about her lost one.

My soul weeps and feels no longer whole.

How bitter is my fate!

Ah, left to sail away loveless on the sea!

Sur moi la nuit immense S’étend comme un linceul; Je chante ma romance Que le ciel entend seul: Ah! Comme elle était belle Et comme je l’aimais!

Je n’aimerai jamais Une femme autant qu’elle.

Que mon sort est amer!

Ah! sans amour s’en aller sur la mer!

The immensity of night covers me like a shroud.

I sing my song, but only the sky can hear it.

Oh, how beautiful she was, and how much I loved her!

I will never love a woman as much as her.

How bitter is my fate!

Ah, left to sail away loveless on the sea!

4 Absence

Absence

Reviens, reviens, ma bien-aimée!

Comme une fleur loin du soleil; La fleur de ma vie est fermée, Loin de ton sourire vermeil.

Come back, come back, my beloved!

Like a flower deprived of the sun, the flower of my life has faded for lack of your golden smile.

Entre nos cœurs, quelle distance, Tant d’espace entre nos baisers. Ô sort amer, ô dure absence, Ô grands désirs inapaisés!

What a distance between our hearts, What an abyss between our kisses.

O bitter fate, O painful absence, O immense unrequited longing!

Reviens, reviens …

Come back, come back …

D’ici là-bas que de campagnes, Que de villes et de hameaux, Que de vallons et de montagnes, A lasser le pied des chevaux!

Between here and there nothing but open country, nothing but towns and villages, nothing but valleys and mountains, enough to tire the horses’ feet!

Reviens, reviens …

Come back, come back …

12 | London Philharmonic Orchestra

5 Au cimetière

In the Graveyard

Connaisez-vous la blanche tombe, Où flotte avec un son plaintif L’ombre d’un if?

Sur l’if une pâle colombe, Triste et seule au soleil couchant, Chante son chant.

Do you know the white tomb where the yew’s shadow waves with a plaintive sound?

In the yew’s branches a pale dove, sad and lonely, sings its song as evening falls.

Un air maladivement tendre, A la fois charmant et fatal, Qui vous fait mal, Et qu’on voudrait toujours entendre; Un air, comme en soupire aux ciex L’ange amoureux.

It is a sickly tender melody, both alluring and deadly; it will harm you, though you always want to hear it.

It is a melody such as a lovelorn angel might breathe to the heavens.

On dirait que l’âme éveillée Pleure sous terre, à l’unisson De la chanson, Et, du malheur d’être oubliée, Se plaint dans un roucoulement Bien doucement.

You would think an awakened soul was weeping in unison from beneath the earth, and was sobbing with the softest cooing at the misery of being abandoned.

Sur les ailes de la musique On sent lentement revenir Un souvenir; Une ombre, une forme angélique, Passe dans un rayon trembant, En voile blanc.

On the wings of music you feel memories slowly coming back; a shadow, an angelic form passes in a flickering light, dressed in a white veil.

Les belles de nuit, demicloses, Jettent leur parfum faible et doux Autour de vous, Et la fantôme aux molles poses Murmure en vous tendant les bras: Tu reviendras!

The night flowers, half closed, waft their faint sweet scent over you, and the vague outline of a ghost reaches out to you and whispers: ‘You will come back!’

Oh! jamais plus, près de la tombe Je n’irai, quand descend le soir Au manteau noir, Écouter la pâle colombe Chanter sur la pointe de l’if, Son chant plaintif.

Oh, I’ll never go near the grave again as evening falls, with its dark mantle, to hear the pale dove singing its plaintive song high up in the yew.

Please turn the page quietly London Philharmonic Orchestra | 13

Song texts continued

6 L’île inconnue

The Unknown Isle

Dites, la jeune belle, Où voulez-vous aller?

La voile enfle son aile, La brise va souffler!

Tell me, my young beauty, where would you like to go?

The wind fills the sails and the breeze will blow!

L’aviron est d’ivoire, Le pavillon de moire, Le gouvernail d’or fin; J’ai pour lest une orange, Pour voile, une aile d’ange, Pour mousse un séraphin.

The oar is made of ivory, the flag of silk, the rudder of fine gold.

My ballast is an orange, my sail an angel’s wing, my cabin-boy a seraph.

Dites …

Tell me …

Est-ce dans la Baltique?

Dans la mer Pacifique?

Dans l’île de Java?

Ou bien est-ce en Norvège, Cuillir la fleur de neige, Ou la fleur d’Angsoka?

To the Baltic?

To the Pacific Ocean?

To the island of Java?

Or perhaps to Norway to pick snowdrops, or the flower of Angsoka?

Dites, la jeune belle, dites, Où voulez-vous aller?

Tell me, my young beauty, where would you like to go?

‘Menez-moi’, dit la belle, ‘A la rive fidèle Où l’on aime toujours!’

‘Cette rive, ma chère, On ne la connaît guère Au pays des amours.’

‘Take me’, said the beauty, ‘to those faithful shores where one is always in love’.

‘Such shores, my dear, scarcely exist in the land of love.’

Où voulez-vous allez?

La brise va souffler!

Where would you like to go?

The breeze will blow!

Théophile Gautier (1811–72)

English translation by Hugh Macdonald © Bärenreiter-Verlag, Kassel

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

14 | London Philharmonic Orchestra

Programme notes

Camille Saint-Saëns 1835–1921

Francis Poulenc remained outside his country’s venerable tradition of building, playing and writing music for organs. But his predecessor by a generation, Camille Saint-Saëns, was part of that tradition’s furniture. Saint-Saëns spent two decades as organist of the church of La Madeleine in Paris, where he played an instrument built by Aristide Cavaillé-Coll, the engineer who invented the circular saw and effectively established the tradition of ‘symphonic’ organ composing (and playing) in France by mechanical means.

The organ, though, probably wasn’t the first thing on Saint-Saëns’s mind when he came to write his Third Symphony. The piece was written for the London Philharmonic Society and the first performance, under the composer’s direction, was at St James’s Hall in London on 19 May 1886. The organ there wasn’t French and it wasn’t particularly big either. Saint-Saëns actually advised that a harmonium be used if an organ wasn’t available, which says a thing or two about his concept.

A concerto this isn’t; the organ is really only used to throw in some transitional chords and colour the orchestral conversation.

The latter fact is particularly relevant. Saint-Saëns expressed his desire ‘to take advantage of advances in modern instrumentation’ in his Third Symphony and the use of the organ (not named in the Symphony’s original title) was but one element of that. Another, and an arguably more interesting one, was the composer’s use of a piano within the orchestra, played by two pianists.

Symphony No. 3 in C minor, Op. 78 (Organ) James O’Donnell organ I Adagio – Allegro moderato – Poco adagio II Allegro moderato – Presto – Maestoso – Allegro

and repetitions that are tending to disappear from instrumental music’. In a sense, though, the composer does ‘develop’ his themes, and in quite a remarkable way. Following the example of Liszt (to whom the Symphony was dedicated), Saint-Saëns took a single musical ‘motto’ and transformed it as his Symphony proceeded.

That motto is first heard courtesy of the nervous string semiquavers that follow the Symphony’s slow introduction. It’s this very theme – transformed into the major – that forms the ‘big tune’ of the Symphony’s finale, famously thrust out on huge organ chords. The motto appears in numerous guises in between, often changing character chameleon-like according to its dramatic or musical surroundings. Similarly the organ itself: it’s exhilarating in those final pages, but appears to speak in confidence in the mystical dialogue with divided strings that comes earlier on.

The motto theme is derived from the Dies Irae plainsong beloved of Liszt, and all Saint-Saëns’s themes, even the transitional and incidental, have a Lisztian cut and a propulsive, dramatic swagger. On top of what is effectively Saint-Saëns’s harmonic conservatism and reliance on the complex counterpoint between concurrent themes, it makes for a piece of mouthwatering clarity, purpose and narrative depth. Or, in the words of Marcel Proust, ‘the most beautiful of symphonies since Beethoven’s’.

Programme notes © Andrew Mellor

‘Though this Symphony is divided into two parts, it does comprise in principle the four traditional movements’, wrote Saint-Saëns of the piece, adding that by avoiding the Germanic tradition of thematic development he ‘sought to avoid somewhat interminable repeats

London Philharmonic Orchestra | 15

Next LPO concerts at Royal Festival Hall

Friday 28 March 2014 | 7.30pm

Friday 25 April 2014 | 7.30pm

JTI Friday Series

JTI Friday Series

Mendelssohn Piano Concerto No. 1 Mahler Symphony No. 9

Rimsky-Korsakov Russian Easter Festival Overture Rodrigo Concierto de Aranjuez Tchaikovsky Symphony No. 6 (Pathétique)

Yannick Nézet-Séguin conductor Nicholas Angelich piano

Wednesday 9 April 2014 | 7.30pm Schumann Violin Concerto Bruckner Symphony No. 8 (Haas edition) Jukka-Pekka Saraste conductor Renaud Capuçon violin

Saturday 12 April 2014 | 7.30pm Tansman Stèle in memoriam Igor Stravinsky Stravinsky Violin Concerto Górecki Symphony No. 4 (Tansman Episodes) (world premiere) Andrey Boreyko conductor Julian Rachlin violin Free pre-concert discussion 6.15–6.45pm | Royal Festival Hall Renowned Górecki expert, Professor Adrian Thomas, discusses the world premiere of Symphony No. 4.

Vladimir Jurowski conductor Miloš Karadaglić guitar

Saturday 26 April 2014 | 7.30pm Marko Nikodijevic La lugubre gondola Beethoven Piano Concerto No. 5 (Emperor) Tchaikovsky Symphony No. 6 (Pathétique) Vladimir Jurowski conductor Leif Ove Andsnes piano

Sunday 11 May 2014 | 12.00pm FUNharmonics Family Concert: Noses With Roald Dahl’s The Ant-Eater, a musical feast by Benjamin Wallfisch.

Stuart Stratford conductor Tickets £10–£18 adults; £5–£9 children

Wednesday 16 April 2014 | 7.30pm The Thomas Beecham Group Concert Zimmermann Photoptosis Beethoven Piano Concerto No. 3 Brahms Symphony No. 4

Booking details

Vladimir Jurowski conductor Mitsuko Uchida piano

London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk

Free pre-concert performance 6.00–6.45pm | The Clore Ballroom, Royal Festival Hall Animate Orchestra, a young person’s orchestra for the 21st century, is a partnership between the LPO, Trinity Laban Conservatoire of Music and Dance and local music services. Tonight’s performance of music written by the group is the culmination of their recent course.

16 | London Philharmonic Orchestra

Unless otherwise stated, tickets £9–£39 (premium seats £65)

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

Orchestra news

Glyndebourne Festival 2014

JTI Live and Local with guitarist Miloš

Tickets for Glyndebourne Festival Opera’s 80th anniversary season are now on sale. The season, which opens on 17 May 2014 and runs until 24 August, also marks the London Philharmonic Orchestra’s 50th anniversary as Resident Symphony Orchestra at Glyndebourne.

We are delighted to announce a pair of concerts in Leicester (24 April) and Stoke-on-Trent (29 April) as the next leg of our ‘Live and Local’ tour, which was launched in 2013. We’ll be joined by classical guitarist Miloš Karadaglić to perform Rodrigo’s evocative Concierto de Aranjuez. The concerts will also include Mozart’s Symphony No. 32 and Tchaikovsky’s Symphony No. 6 (Pathétique). LPO Principal Conductor and Artistic Advisor Vladimir Jurowski will conduct.

This summer the Orchestra will give performances of Richard Strauss’s Der Rosenkavalier under the Festival’s new Music Director Robin Ticciati; Tchaikovsky’s Eugene Onegin under Israeli conductor Omer Meir Wellber in his Glyndebourne debut; Mozart’s Don Giovanni under Andrés Orozco-Estrada, the Orchestra’s Principal Guest Conductor from 2015, also making his Glyndebourne debut; and Verdi’s La traviata under Sir Mark Elder.

Browse the full performance schedule and buy tickets online at glyndebourne.com or call the Box Office on 01273 813813.

Thanks to the generous support of our long-term corporate partner JTI, all tickets to each concert are just £15 (excluding venue booking fees).

24 April 2014 | 7.30pm: De Montfort Hall, Leicester demontforthall.co.uk | 0116 233 3111 Booking fee £3 per transaction

29 April 2014 | 7.30pm: Victoria Hall, Stoke-on-Trent musicmaniauk.com | 01782 206000 (Music Mania store) Booking fee £2.50 per ticket

New CD release: Carmina Burana

Forthcoming tours: Dortmund and Moscow

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

This Saturday, 29 March, the Orchestra will visit Dortmund in Germany with Yannick Nézet-Séguin and pianist Nicholas Angelich. There they will perform Mendelssohn’s Piano Concerto and Mahler’s Symphony No. 9, a repeat of the previous evening’s concert here at Royal Festival Hall (see opposite page).

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

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

Next week the Orchestra will travel to Moscow to give a performance of Britten’s War Requiem at the Tchaikovsky Concert Hall on 4 April, with international soloists Alexandrina Pendatchanska, Ian Bostridge and Matthias Goerne, as well as distinguished Russian choirs. The following evening, the Orchestra will accompany soloist Nicholas Angelich in Brahms’s Piano Concerto No. 2. The programme will also feature Bruckner’s Symphony No. 2. Both concerts will be conducted by Vladimir Jurowski.

This LPO tour forms part of the UK-Russia Year of Culture, an initiative showcasing the best of each country’s cultural heritage during 2014.

London Philharmonic Orchestra | 17

Catalyst: Double Your Donation

The London Philharmonic Orchestra is building its first ever endowment fund, which will support the most exciting artistic collaborations with its partner venues here in London and around the country.

Thanks to a generous grant pledge from Arts Council England’s Catalyst programme, the Orchestra is able to double the value of all gifts from new donors up to a maximum value of £1 million. Any additional gifts from existing generous donors will also be matched.

By the end of the campaign we aim to have created an endowment with a value of £2 million which will help us work with partners to provide a funding injection for activities across the many areas of the Orchestra’s work, including: • More visionary artistic projects like The Rest Is Noise at Southbank Centre • Educational and outreach activities for young Londoners like this year’s Noye’s Fludde performance project • Increased touring to venues around the UK that might not otherwise have access to great orchestral music To give, call Development Director Nick Jackman on 020 7840 4211, email support@lpo.org.uk or visit www.lpo.org.uk/support/double-your-donation.html

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

18 | London Philharmonic Orchestra

TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker Pritchard Donors Mark & Elizabeth Adams Anonymous Linda Blackstone Michael Blackstone Yan Bonduelle Richard and Jo Brass Britten-Pears Foundation Desmond & Ruth Cecil Lady June Chichester Lindka Cierach Mr Alistair Corbett Mark Damazer David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Commander Vincent Evans Mr Daniel Goldstein Mrs Mina Goodman and Miss Suzanne Goodman Ffion Hague Rebecca Halford Harrison Michael & Christine Henry

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

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Anonymous William and Alex de Winton Simon Robey The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Jane Attias John & Angela Kessler Guy & Utti Whittaker Manon Williams & John Antoniazzi Principal Benefactors Mark & Elizabeth Adams Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook David Ellen Commander Vincent Evans

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

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

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK Berenberg Bank British American Business Carter-Ruck Thomas Eggar LLP 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

Trusts and Foundations Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Embassy of Spain, Office for Cultural and Scientific Affairs The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Hinrichsen Foundation The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust Marsh Christian Trust

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

Administration

Board of Directors Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Neil Westreich Dr Manon Williams

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

* Player-Director

Roanna Gibson Concerts Director

Advisory Council

Graham Wood Concerts and Recordings Manager

Victoria Sharp Chairman Christopher Aldren Richard Brass Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson Christopher Fraser OBE Lord Hall of Birkenhead CBE Clive Marks OBE FCA Stewart McIlwham Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman

Orchestra Personnel

Public Relations

Andrew Chenery Orchestra Personnel Manager

Albion Media (Tel: 020 3077 4930)

Sarah Holmes Sarah Thomas Librarians (job-share)

Archives

Christopher Alderton Stage Manager Ellie Swithinbank Assistant Orchestra Personnel Manager

Nick Jackman Development Director

Crowe Clark Whitehill LLP Auditors

Katherine Hattersley Charitable Giving Manager

Dr Louise Miller Honorary Doctor

Helen Searl Corporate Relations Manager Molly Stewart Development and Events Manager

Tamzin Aitken Glyndebourne and UK Engagements Manager

Rebecca Fogg Development Assistant

Education and Community Isabella Kernot Education Director Alexandra Clarke Education and Community Project Manager

Marketing Kath Trout Marketing Director Mia Roberts Marketing Manager Rachel Williams Publications Manager Samantha Kendall Box Office Manager (Tel: 020 7840 4242) Libby Northcote-Green Marketing Co-ordinator

Lucy Duffy Education and Community Project Manager

Penny Miller Intern

Richard Mallett Education and Community Producer

Digital Projects

20 | London Philharmonic Orchestra

Professional Services Charles Russell Solicitors

Sarah Fletcher Development and Finance Officer

Jo Cotter PA to the Chief Executive / Tours Co-ordinator

Gillian Pole Recordings Archive

Development

Jenny Chadwick Tours Manager

Alison Jones Concerts and Recordings Co-ordinator

Philip Stuart Discographer

Alison Atkinson Digital Projects Manager Matthew Freeman Recordings Consultant

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

Photograph of Poulenc courtesy of the Royal College of Music, London.

Front cover photograph © Patrick Harrison.

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