26 Feb 2011 LPO Programme notes

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

AM†

CONCERT HALL, BRIGHTON DOME Saturday 26 February 2011 | 7.30pm

PROGRAMME CONTENTS 2 3 4 5 9 10 11 12

DANAIL RACHEV conductor SOFYA GULYAK piano

SCHUBERT Overture, Rosamunde

List of Players Danail Rachev Sofya Gulyak Programme Notes Orchestra history Brighton Dome Supporters Administration

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

(10’)

RACHMANINOV Concerto No. 3 in D minor for piano and orchestra (44’) INTERVAL BEETHOVEN Symphony No. 7 in A

†

(36’)

supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA WITH ASSISTANCE FROM BRIGHTON DOME

Ticket Office 01273 709709 www.brightondome.org

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LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINS Pieter Schoeman* Leader Artem Kotov Katalin Varnagy Thomas Eisner Tina Gruenberg Martin Hรถhmann Chair supported by Richard Karl Goeltz

Geoffrey Lynn Robert Pool Peter Nall Galina Tanney Sylvain Vasseur Joanne Chen Caroline Sharp Ishani Bhoola SECOND VIOLINS Clare Duckworth Principal Chair supported by Richard and Victoria Sharp

Joseph Maher Kate Birchall Chair supported by David and Victoria Graham Fuller

Nancy Elan Nynke Hijlkema Marie-Anne Mairesse Ashley Stevens Dean Williamson Sioni Williams Heather Badke Alison Strange Peter Graham

VIOLAS Robert Duncan Principal Katharine Leek Benedetto Pollani Emmanuella Reiter-Bootiman Daniel Cornford Alistair Scahill Isabel Pereira Sarah Malcolm Martin Fenn Anthony Byrne CELLOS Francis Bucknall Principal Jonathan Ayling Chair supported by Caroline, Jamie and Zander Sharp

Santiago Sabino Carvalho + Gregory Walmsley Sue Sutherley Susanna Riddell Tom Roff Helen Rathbone DOUBLE BASSES Kevin Rundell* Principal Laurence Lovelle George Peniston Kenneth Knussen Joe Melvin Helen Rowlands FLUTES Stewart McIlwham* Principal Joanna Marsh

OBOES Steven Hudson Guest Principal Angela Tennick

PERCUSSION Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar CLARINETS Jon Carnac Guest Principal Paul Richards BASSOONS John Price Principal Emma Harding HORNS Phillip Eastop Guest Principal Martin Hobbs Nicolas Wolmark Gareth Mollison TRUMPETS Paul Beniston* Principal Anne McAneney* Chair supported by Geoff and Meg Mann

Daniel Newell TROMBONES David Whitehouse Principal Jonathan Randall BASS TROMBONE Lyndon Meredith Principal TUBA Lee Tsarmaklis Principal

* Holds a professorial appointment in London

TIMPANI Simon Carrington* Principal

+

Chevalier of the Brazilian Order of Rio Branco

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: John and Angela Kessler Julian and Gill Simmonds The Tsukanov Family

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DANAIL RACHEV

Ryan Donnell

CONDUCTOR

Danail Rachev was born in Shumen, Bulgaria, and trained at the State Musical Academy in Sofia, where he received degrees in orchestral and choral conducting. He moved to the United States to study at the Peabody Conservatory in Baltimore on a full scholarship, graduating in 2001. His conducting teachers have included Gustav Meier, Michael Tilson Thomas, Vassil Kazandjiev, David Zinman and Leonard Slatkin. In 2002 Rachev was appointed the first ever Conducting Fellow of the New World Symphony Orchestra and followed this with acclaimed collaborations with the Dallas Symphony Orchestra and Philadelphia Orchestra, where he served as Assistant Conductor. Since 2009 he has been Music Director of the Eugene Symphony Orchestra in Oregon, succeeding previous Music Directors Marin Alsop, Miguel Harth-Bedoya and Giancarlo Guerrero.

Danail Rachev was appointed Music Director of the Eugene Symphony Orchestra in July 2009. He oversees all artistic activities of the orchestra, conducts its symphonic series and programmes all of the orchestra’s concert activities. Eugene Symphony Executive Director Paul Winberg commented that ‘Danail’s musicianship and passion for music were evident from our very first meeting. He is a true artist and will continue to build on the proud tradition of great conductors leading our orchestra’. This season in Eugene, Rachev will collaborate with such artists as Alisa Weilerstein, Sarah Chang and Itzhak Perlman.

Rachev was Assistant Conductor of the Philadelphia Orchestra from 2008 to 2010 and the Dallas Symphony from 2005 to 2008, where he led numerous public concerts and education programmes. Of his main series debut the Dallas Morning News wrote: ‘One of the Dallas Symphony Orchestra’s best concerts of the past year ... assistant conductor Danail Rachev got the music unfailingly right, and viscerally compelling.’ He also conducted regular concerts with the New World Symphony Orchestra that met with consistent critical acclaim. In his native Bulgaria, he has worked with several ensembles including the Russe State Opera, where he led performances of Donizetti’s Don Pasquale and Rossini’s Il barbiere di Siviglia.

Recent engagements for Danail Rachev have included a performance with the London Philharmonic Orchestra including Brahms’s Symphony No. 4, concerts of Elgar, Dvořák and Beethoven with the Scottish Chamber Orchestra, Dvořák’s Czech Suite and Schumann’s Symphony No. 4 with the Stuttgart Radio Symphony Orchestra, and performances with the Baltimore Symphony Orchestra, Orquestra Nacional do Porto and Nashville Symphony Orchestra. He also conducted several concerts with the Philadelphia Orchestra as part of his final year as Assistant Conductor there.

Highlights of the current season include his debut with the Philharmonia Orchestra, Royal Scottish National Orchestra, Bournemouth Symphony Orchestra, Orquesta Sinfonica de Asturias, Auckland Philharmonia Orchestra in New Zealand and Yomiuri Nippon Symphony Orchestra in Tokyo.

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SOFYA GULYAK PIANO

Leipzig; Hong Kong City Hall; Finlandia Hall in Helsinki; Bridgewater Hall in Manchester; Leeds Town Hall; Aberdeen Music Hall; Salle Moliere in Lyon; Walt Disney Hall in Los Angeles; King Theatre in Rabat; Kursaal in Bern; and Tivoli Concert Hall in Copenhagen.

In September 2009 Sofya Gulyak was awarded the First Prize and the Princess Mary Gold Medal at the Sixteenth Leeds International Piano Competition – the first woman who has achieved this distinction in the history of the competition.

She has received prizes at many other prestigious piano competitions: First Prizes at the William Kapell International Piano Competition in the USA, Maj Lind Helsinki International Piano Competition, Tivoli Piano Competition in Copenhagen, Gyeongnam International Piano Competition in South Korea and San Marino Piano Competition; Second Prize (First not awarded) at the Busoni Competition in Italy and Third Prize at the Marguerite Long Piano Competition in Paris.

Sofya Gulyak is a native of Kazan in Russia where she studied at a special music college, and then at Kazan State Conservatoire under Professor Elfiya Burnasheva.

She also graduated from the École Normale de musique de Paris Alfred Cortot with the highest distinction. She furthered her studies in Imola in Italy with Boris Petrushansky and at the Royal College of Music with Vanessa Latarche.

Recitals and concert appearances have been numerous, with performances in Russia, Poland, France, Italy, Germany, Finland, the United Kingdom, Brazil, Romania, Denmark, Norway, the USA, Japan, Hong Kong, the Philippines, Malaysia, Singapore, Portugal, Switzerland, Morocco, Greece and South Korea. She has performed at the Sala Verdi in Milan; Salle Cortot, Salle Gaveau and Salle Pleyel in Paris; Concert Hall of the Moscow Conservatoire; Konzerthaus in Berlin; Gewandhaus in

4 | London Philharmonic Orchestra

She has played with the Finnish Radio Symphony, St Petersburg Philharmonic, Rio de Janeiro Symphony, Royal Liverpool Philharmonic, Hallé, BBC Scottish Symphony, Bucharest Philharmonic, Oulu Philharmonic, Leipzig Philharmonic, Helsinki Philharmonic, Morocco, Copenhagen Symphony and Baltimore Symphony Orchestras as well as the Orchestra of Fondazione Arena di Verona and Orchestre National de France. Among the conductors she has played under are Vladimir Ashkenazy, Sakari Oramo, Mark Elder, David Hill, Donald Runnicles, Fabio Mastrangelo, Fuat Mansurov, David Jones, Misha Katz and Michael Koehler.

She has taken part in many festivals such as the Klavier Ruhr Festival, Chopin Festival in Duzniki-Zdroj, Festival du Sceaux, International Keyboard Festival in New York, Busoni Festival, Cracow Piano Festival, Liszt Festival in Villa d’Este, Nordlys Festival in Norway and Ravello Festival. Her playing has been broadcast on radio and television in Russia, Poland, France, Italy, Germany, the USA, Finland, Denmark and the United Kingdom.

Sofya Gulyak has served as a jury member at international piano competitions in Italy, Serbia, France, Greece and the USA. Future highlights include appearances with the Liverpool Philharmonic, Philippines Philharmonic, Palermo Symphony, Ulster Symphony and Wroclaw Philharmonic Orchestras as well as the Orchestra Filarmonica di Bologna; a concert tour with the Hallé Orchestra; collaborations with the Chilingirian and Minetti Quartets; and recitals at the Kennedy Center in Washington and the Hercules Hall in Munich.

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PROGRAMME NOTES

SPEEDREAD We start this evening with Schubert’s misnamed but much loved Rosamunde overture, a generous outpouring of melody by one of the greatest tunesmiths who ever lived.

Rachmaninov, no mean tunesmith himself, was one of the greatest pianists of his day. He composed his Third Piano Concerto for himself to play during an American concert tour in 1909. Technically extremely challenging for the pianist, it is also intensely Russian in feeling, and tonight we have the Russian winner of the 2009 Leeds International Piano Competition as soloist. The three

Franz SCHUBERT

movements are full of romantic melody and exciting rhythms. Both the initial rhythmic figure from the orchestra and the pianist’s sinuous opening theme recur in various ways throughout the concerto.

Wagner famously called Beethoven’s Seventh Symphony the apotheosis of the dance. It’s not dance music, but insistent rhythms drive the four movements, which are conceived on a grand scale and encompass a daring range of keys. The home key of A major is regained, of course, in time for the triumphantly exuberant ending. © Eric Mason

OVERTURE, ROSAMUNDE, OP. 26

1797-1828

What is misleadingly known as the overture to Rosamunde comes in fact from incidental music that Schubert composed in 1820 for Die Zauberharfe (The Magic Harp), a melodrama by Georg Ernst von Hofmann. In December 1823 Schubert accepted a commission to write incidental music to a romantic drama, Rosamunde, Princess of Cyprus by Helmina von Chézy, whose libretto for Weber’s opera Euryanthe had been the ruination of that work on its first production a few weeks previously. Rosamunde was evidently no better, for the play had only two performances, but Schubert’s ten musical numbers, composed in an amazingly short time, survived. They did not include an

overture, because the composer had no time to write one. For the play’s performances he borrowed the overture to his opera Alfonso und Estrella.

The erroneous connection of the Zauberharfe overture with Rosamunde arose from Schubert allowing a piano duet arrangement of it to be published under the same opus number as the Rosamunde music. By any name the overture is a fine piece, a blithe Allegro vivace in C with a slower (Andante) introduction. The construction is straightforward, and the characteristic outpouring of Schubertian melody can be relied upon to delight the listener.

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PROGRAMME NOTES

Sergei RACHMANINOV

CONCERTO NO. 3 IN D MINOR FOR PIANO AND ORCHESTRA, OP. 30 SOFYA GULYAK piano Allegro ma non tanto | Intermezzo: Adagio | Alla breve

1873-1943

There are alternative versions of the first part, one even more taxing than the other. About midway through the cadenza solo wind instruments interpose recollections of the cello version of the main theme, then the pianist is left to dwell on the second subject. A reprise of the concerto’s opening follows, and the movement ends quietly with a reference to the rhythmic part of the second subject.

Rachmaninov composed his Third Piano Concerto for the tour he made in the United States of America in 1909. By that time the Second Concerto had become extremely popular, and he wanted to have a new work in the same medium to introduce to American audiences. So in the summer of 1909, which he spent in the idyllic environment of an estate in southern Russia that belonged to his wife’s family, he produced what many consider to be the finest of his four concertos. It closely resembles the Second Concerto in style, which is to say that it contains romantic melodies, exciting rhythms and brilliant, virtuosic piano writing. But it is emotionally less self-indulgent, more tightly knit and far more difficult to play. The first performance took place in New York on 28 November 1909 with the composer, of course, as soloist and Walter Damrosch conducting the New York Symphony Orchestra. A second performance followed in the same city with Gustav Mahler conducting, and the concerto was favourably received.

Rachmaninov separates the first and last movements with a poignant intermezzo, which takes its mood from the initial oboe theme, an A major melody taken up by the strings. The pianist develops this in a series of D flat variations. After a climax the piano part breaks into showers of triplets against a woodwind melody that is a rhythmically altered version of the first movement’s main theme. When the original tempo is restored, the orchestra returns to the sorrowful mood of the opening, but the piano bursts in with a flourish that leads without break into the finale.

It opens with a figure in dotted rhythm (clarinets, bassoons and cellos) that is to recur in various forms throughout the work, as will the main theme with which the soloist enters. This is a melody that moves in small steps (a Rachmaninov characteristic) and winds itself around the keynote of D. ‘I wanted the melody to sing on the piano as a singer would sing it’, Rachmaninov explained, ‘and to find a suitable orchestral accompaniment that would not muffle this singing.’ Piano and orchestra discuss the theme, and after a brief piano cadenza a new version of the tune appears on the cellos. The second subject, derived from a phrase of the first, is a rhythmic dialogue for violins and piano that turns into a lyrical piano theme. A development section concerned mainly with the first theme and its dotted-rhythm accompaniment culminates in an extensive cadenza for the soloist.

Woodwind establish a brisk march rhythm and the piano announces the principal theme, an elaboration of the concerto’s opening phrase. The second subject, a percussive piano theme (beginning with repeated chords) related to that same dotted initial figure, further emphasises the unity of the work. Following a similar procedure as in the first movement, the outline of this rhythmic theme turns into a romantic melody.

There follows a scherzando episode, and in the middle of this the first movement’s principal themes are recalled. Then the finale’s own two subjects are taken up again and lead to the coda, which begins with an air of eager expectation. The reason is soon made plain.

Heralded by a cascade of piano octaves, the piano and orchestra join in a broad new version of the romantic theme that rises to a passionate climax, the end product of the concerto’s first two bars.

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PROGRAMME NOTES

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

Ludwig van BEETHOVEN

SYMPHONY NO. 7 IN A, OP. 92 Poco sostenuto – Vivace | Allegretto | Presto – Assai meno presto | Allegro con brio

1770-1827

Wagner was on the right track when he described this symphony as the apotheosis of the dance. Of the three fundamental elements of music – melody, harmony and rhythm – rhythm has prime importance in dance music, and rhythm dominates and directs the course of Beethoven’s symphony. Wagner did not mean that this music had any association with ballroom or ballet or with specific dances, though he did once try to dance to it while Liszt played the symphony on the piano. But each of the four movements has a distinctive rhythmic character that suggests dancing motion in the widest sense of the term.

Meyerbeer, Hummel, Salieri and Moscheles were in the percussion section. The conductor of this remarkable orchestra was Beethoven himself, by now very deaf.

According to Spohr he got ten bars ahead of the orchestra at rehearsal. As far as the public were concerned the big attraction in the programme was not the Seventh Symphony but a less estimable new work

by Beethoven, the so-called Battle Symphony, Wellington’s Victory, celebrating Wellington’s conquest of the French at the Battle of Vitoria in Spain. The Seventh Symphony, however, was warmly welcomed and its second movement was encored.

Beethoven appears to have begun composing the symphony in 1811. He completed it in May 1812 but had to wait for the first public performance until December 1813, when he included it in a gala concert at Vienna University in aid of wounded Austrian soldiers. Johann Maelzel, inventor of the metronome, organised the concert and recruited many celebrated musicians for the orchestra. Spohr, Schuppanzigh (leader of the quartet that gave the premières of many of Beethoven’s quartets), and Dragonetti, the doublebass virtuoso, were among the string players.

The unusually extended slow introduction not only indicates the grand scale of the symphony but also sets forth its daring range of keys. The opening chords, linked by a spacious oboe theme, establish the tonic and dominant expected in a work with outer movements in A major. But the powerful rising scales that follow lead to a second oboe theme in unexpected C major, and this theme returns in another remote key, F major, which will be the key of the scherzo. A long series of repeated Es generates a feeling of expectancy, resolving at last into the rhythm of the Vivace, which

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PROGRAMME NOTES

sets off with its main theme. This soon develops great energy, such is the propulsive strength of the rhythmic pattern that pervades the movement until the coda.

Then the often contradicted home key of A asserts itself in a remarkable passage where a pedal point is held for 22 bars against a bass pattern derived from the beginning of the principal theme. The energy bursts out once more to end the movement in tremendous exhilaration.

Another rhythmic pattern, one which profoundly influenced Schubert, pervades the A minor Allegretto, which Beethoven first sketched six years earlier as a possible movement for the Quartet Op. 59, No. 3. The principal theme is stated by the lower strings, taken up by second and first violins in turn with a countermelody, and finally played by the full orchestra. An episode in A major brings a serene woodwind melody over violin triplets, while the cellos and basses persist with the first theme’s rhythm. The first theme returns in

varied form and leads to a brief fugal treatment. The woodwind melody is aired once more before a poetic coda, which is based on fragments of the first theme.

Dionysiac vigour comes to the fore again in the F major scherzo, the theme of which was first considered for use in the opening movement. The trio section in D is possibly based on an Austrian pilgrims’ hymn. Both sections are heard twice. Then, after a third round of the scherzo, the trio tries to begin again but is cut short by five abrupt chords.

The finale, cast in sonata form, is a formidable explosion of energy. The basic key is A major, but the alien keys of C and F, which found their way into the first movement, again feature prominently here before the home key is restored for a tumultuously exuberant ending.

Programme Notes © by Eric Mason

The London Philharmonic Orchestra Recording Archive Many thanks to those kind supporters who have donated recordings to the London Philharmonic Orchestra Recording Archive. There are still many holes in our Archive so we would like to encourage any possible donors to delve into their own collections to see if they have any recordings which might fill in some of the gaps. Please contact Gillian Pole at the London Philharmonic Orchestra, 89 Albert Embankment, London SE1 7TP if you would like to make a donation.

Download London Philharmonic Orchestra recordings from www.lpo.org.uk/shop It’s easy to take the London Philharmonic Orchestra with you wherever you go! Visit our downloads site to choose the works (or even single movements) you’d like to buy, and download high quality MP3s to your computer for transfer to an MP3 player or CD. With regular additions of new recordings with conductors from Beecham to Jurowski you’ll always have a selection of great music to choose from.

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LONDON PHILHARMONIC ORCHESTRA

Seventy-eight years after Sir Thomas Beecham founded the London Philharmonic Orchestra, it is recognised today as one of the finest orchestras on the international stage.

Following Beecham’s influential founding tenure the Orchestra’s Principal Conductorship has been passed from one illustrious musician to another, amongst them Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. This impressive tradition continued in September 2007 when Vladimir Jurowski became the Orchestra’s Principal Conductor and, in a further exciting move, the Orchestra appointed Yannick Nézet-Séguin its new Principal Guest Conductor from September 2008.

The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It plays there around 40 times each season with many of the world’s most sought after conductors and soloists.

Concert highlights in 2010/11 include an exploration of Mahler’s symphonies and complete song cycles during the composer’s anniversary season; the premières of works by Matteo D’Amico, Magnus Lindberg and Brett Dean; a rare opportunity to hear Rossini’s opera Aureliano in Palmira in collaboration with long term partner Opera Rara; and works by the Orchestra’s new Composer in Residence, Julian Anderson.

In addition to its London season and a series of concerts at Wigmore Hall, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. It is unique in combining these concert activities with esteemed opera performances each summer at Glyndebourne Festival Opera where it has been the Resident Symphony Orchestra since 1964.

The London Philharmonic Orchestra performs to enthusiastic audiences all round the world. 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 continues to form a significant part of the Orchestra’s schedule and is supported by Aviva, the International Touring Partner of the London Philharmonic Orchestra. Tours in 2010/11 include visits to Finland, Germany, South Korea, Spain, France, Belgium and Luxembourg.

Having long been embraced by the recording, broadcasting and film industries, the London

Philharmonic Orchestra broadcasts regularly on domestic and international television and radio. It also works with the Hollywood and UK film industries, recording soundtracks for blockbuster motion pictures including the Oscar-winning score for The Lord of the Rings trilogy and scores for Lawrence of Arabia, The Mission, Philadelphia and East is East.

The London Philharmonic Orchestra made its first recordings on 10 October 1932, just three days after its first public performance. It has recorded and broadcast regularly ever since, and in 2005 established its own record label. The recordings on its own label are taken mainly from live concerts given with distinguished conductors over the years including the Orchestra’s Principal Conductors from Beecham and Boult, through Haitink, Solti and Tennstedt, to Masur and Jurowski.

Recent additions to the catalogue have included acclaimed releases of Christmas choral music conducted

by Vladimir Jurowski, Bruckner’s Symphony No. 6 conducted by Christoph Eschenbach, Verdi’s Requiem conducted by Jesús López-Cobos, Holst’s The Planets conducted by Vladimir Jurowski and Elgar’s Symphony No. 1 and Sea Pictures with Vernon Handley and Janet Baker. The Orchestra’s own-label CDs are also widely available to download. Visit www.lpo.org.uk/shop for the latest releases.

The Orchestra reaches thousands of Londoners through its rich programme of community and school-based activity in Lambeth, Lewisham and Southwark, which includes the offshoot ensembles Renga and The Band, its Foyle Future Firsts apprenticeship scheme for outstanding young instrumentalists, and regular family and schools concerts.

To help maintain its high standards and diverse workload, the Orchestra is committed to the welfare of its musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark.

There are many ways to experience and stay in touch with the Orchestra’s activities: visit www.lpo.org.uk, subscribe to our podcast series, download our iPhone application and join us on Facebook and Twitter. www.lpo.org.uk London Philharmonic Orchestra | 9

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BRIGHTON DOME CHIEF EXECUTIVE ANDREW COMBEN

FINAL LONDON PHILHARMONIC ORCHESTRA CONCERT AT BRIGHTON DOME THIS SEASON

Ticket Office 01273 709709 www.brightondome.org

Saturday | 11 June 2011 | 7.30 pm Tchaikovsky Symphony No. 1 (Winter Daydreams) Dvořák Cello Concerto

WELCOME TO BRIGHTON DOME We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following:

DMITRY SITKOVETSKY conductor YAN LEVIONNOIS cello

LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks.

Dmitry Sitkovetsky and Yan Levionnois

SMOKING Brighton Dome is a no smoking venue.

INTERVAL DRINKS may be ordered in advance at the bar to avoid queues.

PHOTOGRAPHY is not allowed in the auditorium.

RECORDING is not permitted in the auditorium.

MOBILES, PAGERS AND WATCHES should be switched off before entering the auditorium.

Thank you for your co-operation.

The concert at Brighton Dome on 26 February 2011 is presented by the London Philharmonic Orchestra with assistance from Brighton Dome.

Brighton Dome gratefully acknowledges the support of Arts Council England and Brighton & Hove City Council.

Brighton Dome is managed by Brighton Dome and Festival Ltd which also runs the annual three-week Brighton Festival in May. www.brightonfestival.org

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

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ADMINISTRATION

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GENERAL ADMINISTRATION

ORCHESTRA PERSONNEL

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Martin Höhmann Chairman Stewart McIlwham Vice-Chairman Sue Bohling Simon Carrington Lord Currie* Jonathan Dawson* Anne McAneney George Peniston Sir Bernard Rix* Kevin Rundell Sir Philip Thomas* Sir John Tooley* The Rt Hon. Lord Wakeham DL* Timothy Walker AM †

Timothy Walker AM † Chief Executive and Artistic Director

Andrew Chenery Orchestra Personnel Manager

Edmund Pirouet Consultant

Sarah Thomas Librarian

Philip Stuart Discographer

Michael Pattison Stage Manager

Gillian Pole Recordings Archive

*Non-Executive Directors

THE LONDON PHILHARMONIC TRUST Pehr Gyllenhammar Chairman Desmond Cecil CMG Richard Karl Goeltz Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann Angela Kessler Clive Marks OBE FCA Victoria Sharp Julian Simmonds Timothy Walker AM † Laurence Watt AMERICAN FRIENDS OF THE LONDON PHILHARMONIC ORCHESTRA, INC. We are very grateful to the Board of the American Friends of the London Philharmonic Orchestra for its support of the Orchestra’s activities in the USA. PROFESSIONAL SERVICES Charles Russell Solicitors

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Helen Boddy Marketing Co-ordinator

Fiona Lambert Education and Community Consultant

Frances Cook Publications Manager

Anne Findlay Education Officer

Samantha Kendall Box Office Administrator (Tel: 020 7840 4242)

Richard Mallett Education and Community Producer

Ed Weston Intern

Crowe Clark Whitehill LLP Auditors

LONDON PHILHARMONIC ORCHESTRA

Valerie Barber Press Consultant (Tel: 020 7586 8560)

Dr Louise Miller Honorary Doctor

†Supported by Macquarie Group

12 | London Philharmonic Orchestra