27 april 2013 LPO programme book

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

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Saturday 27 April 2013 | 7.30pm

vladimir jurowski conductor barbara hannigan soprano

webern Variations for Orchestra, Op. 30 (7’) berg Symphonic Pieces from the opera Lulu (32’) Interval martinŮ Double Concerto for two string orchestras, piano and timpani (21’) bartÓK Music for Strings, Percussion and Celeste (32’)

* 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 Vladimir Jurowski 8 Barbara Hannigan 9 Programme notes and texts 15 Next concerts 16 Birthday Appeal update 17 Orchestra news 18 LPO Chamber Contrasts at

Wigmore Hall 19 Supporters 20 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

2 | London Philharmonic Orchestra

Tonight’s works in context

1880

1890

1900

1881 Béla Bartók born in Nagyszentmiklós, Hungarian Empire (now part of Romania) 1883 Anton Webern born in Vienna 1885 Alban Berg born in Vienna

1890 Bohuslav Martinů born in Polička, Bohemia (now part of Czech Republic) 1891 Carnegie Hall opened in New York City 1896 Henri Becquerel discovered radioactivity. First modern Olympic games held in Athens 1897 Marconi awarded a patent for radio communication 1901 Death of Queen Victoria 1904 Webern began studying with Arnold Schoenberg in Vienna 1906 Kellogg’s began selling Corn Flakes

1910

1908 First commercial radio transmission 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) 1925 Premiere of Berg’s opera Wozzeck in Berlin 1929 Wall Street Crash

1930 1940

1932 1934 1935 1936

London Philharmonic Orchestra founded by Sir Thomas Beecham Berg assembled his concert suite of movements from his unfinished opera Lulu Death of Berg in Vienna Bartók completed his Music for Strings, Percussion and Celeste

1938 Martinů completed his Double Concerto 1941 Webern completed his Variations for Orchestra 1941 Martinů emigrated to the USA, fleeing the German invasion of France 1945 End of World War II. Deaths of Webern in Mittersill, Austria, and Bartók in New York 1946 Microwave oven invented

1950

1949 Orwell’s Nineteen Eighty-Four published 1953 Death of Joseph Stalin 1955 Vietnam War began

1960

1959 Death of Martinů in Liestal, Switzerland

London Philharmonic Orchestra | 3

‘The LPO’s playing throughout was exceptional in its warmth, finesse and detail.’ The Guardian (23 January 2013, Royal Festival Hall: Webern, Schoenberg and Mahler)

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most adventurous and forward-looking orchestras. As well as giving classical concerts, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of Londoners every year through activities for schools and local communities.

American works with Marin Alsop; Haydn and Strauss with Yannick Nézet-Séguin; and the UK premiere of Carl Vine’s Second Piano Concerto with pianist Piers Lane under Vassily Sinaisky. Throughout 2013 the Orchestra is collaborating with Southbank Centre on The Rest Is Noise festival, based on Alex Ross’s book of the same name and charting the 20th century’s key musical works and historical events.

The Orchestra was founded by Sir Thomas Beecham in 1932, and since then its Principal Conductors have included Sir Adrian Boult, Sir John Pritchard, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur.

The current Principal Conductor is Vladimir Jurowski, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor.

The Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency accompanying the famous Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra since 1964. The Orchestra also tours internationally, performing concerts to sell-out audiences worldwide.

Tours in the 2012/13 season include visits to Spain, Germany, France, Switzerland, the USA and Austria.

The Orchestra is Resident Orchestra at Southbank Centre’s Royal Festival Hall in London, where it has performed since it opened in 1951, giving around 40 concerts there each season. 2012/13 highlights include three concerts with Vladimir Jurowski based around the theme of War and Peace in collaboration with the Russian National Orchestra; Kurt Weill’s The Threepenny Opera, also conducted by Jurowski; 20th-century 4 | London Philharmonic Orchestra

The London Philharmonic Orchestra has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, East is East, Hugo, and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in

© Patrick Harrison

London Philharmonic Orchestra

Pieter Schoeman leader

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 maintains an energetic programme of activities for young people and local communities. Highlights include the Deutsche Bank BrightSparks Series; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, developments in technology and social networks have enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel, news blog, iPhone app and regular podcasts, the Orchestra has a lively presence on Facebook and Twitter.

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

London Philharmonic Orchestra 2013/14 season concerts – on sale now!

Our 2013/14 season concerts at Royal Festival Hall are now on sale. Browse and book online at www.lpo.org.uk/newseason, pick up a copy of the season brochure from the Royal Festival Hall foyer racks this evening, or call us on 020 7840 4208 to request a copy of the brochure or to book by phone.

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

© Patrick Harrison

2005 established its own record label. There are now over 70 releases available on CD and to download.

Recent additions include Tchaikovsky’s Symphonies Nos. 4 & 5 and Mahler’s Symphony No. 1, both with Vladimir Jurowski; Brahms’s Symphonies Nos. 1 & 3 with Klaus Tennstedt; a disc of orchestral works by Mark-Anthony Turnage; and the world premiere of the late Ravi Shankar’s First Symphony conducted by David Murphy.

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 Philharmonic Orchestra.

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 Chair supported by Moya Greene

Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Tom Eisner Martin Höhmann Geoffrey Lynn Robert Pool Sarah Streatfeild Yang Zhang Rebecca Shorrock Benjamin Roskams Alina Petrenko Caroline Frenkel Galina Tanney Peter Nall Robert Yeomans Second Violins Andrew Storey Guest Principal Jeongmin Kim Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Fiona Higham Ashley Stevens Marie-Anne Mairesse Nancy Elan Eugene Lee Ksenia Berezina Caroline Simon Dean Williamson Sioni Williams Alison Strange Peter Graham Stephen Stewart

Violas Joel Hunter Guest Principal Robert Duncan Gregory Aronovich Katherine Leek Benedetto Pollani Laura Vallejo Susanne Martens Michelle Bruil Naomi Holt Daniel Cornford Rebecca Carrington Sarah Malcolm Martin Fenn Miriam Eisele

Flutes Juliette Bausor Guest Principal Sue Thomas

Cellos Kristina Blaumane Principal Francis Bucknall Laura Donoghue Gregory Walmsley Santiago Carvalho† Sue Sutherley Tae-Mi Song Sibylle Hentschel Orlando Jopling Emily Isaac William Routledge Philip Taylor

Cor Anglais Sarah Harper

Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Helen Rowlands Jeremy Watt Tom Walley Margarida Castro Catherine Ricketts

Alto Saxophone Martin Robertson

Chair supported by the Sharp Family

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

Nicholas Betts Co-Principal

Stewart McIlwham* Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick Principal Angela Tennick Sarah Harper

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

Clarinets Robert Hill* Principal Emily Meredith Douglas Mitchell

Percussion Andrew Barclay* Principal

Bass Clarinet Paul Richards Principal

Keith Millar Jeremy Cornes

E-flat Clarinet Douglas Mitchell

Harp Rachel Masters* Principal

Bassoons Gareth Newman* Principal Stuart Russell Contrabassoon Simon Estell Principal Horns John Ryan* Principal David Pyatt* Principal Chair supported by Simon Robey

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Chair supported by Andrew Davenport

Chair supported by Friends of the Orchestra

Piano/Celeste Catherine Edwards John Alley Assistant Conductor Ilyich Rivas

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

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Caroline, Jamie & Zander Sharp • Julian & Gill Simmonds

6 | London Philharmonic Orchestra

Vladimir Jurowski

© Chris Christodoulou

Principal Conductor and Artistic Advisor

One of today’s most sought-after and dynamic conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow, and completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany, continuing his studies at the High Schools of Music in Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco.

Vladimir Jurowski has been Music Director of Glyndebourne Festival Opera since 2001, and in 2003 was appointed Principal Guest Conductor of the London Philharmonic Orchestra, becoming the Orchestra’s Principal Conductor in September 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has also held the positions of First Kapellmeister of the Komische Oper, Berlin (1997–2001); Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03); and Principal Guest Conductor of the Russian National Orchestra (2005–09).

Vladimir Jurowski is a regular guest with many leading orchestras in both Europe and North America, including the Berlin and Oslo Philharmonic orchestras; the Dresden Staatskapelle; the Leipzig Gewandhausorchester; the Tonhalle Orchester Zurich; and the Royal Concertgebouw, Philadelphia, Chicago Symphony, Bavarian Radio Symphony and Mahler Chamber orchestras. Highlights of the 2012/13 season and beyond include his debuts with the Vienna Philharmonic, Boston Symphony, New York Philharmonic, NHK Symphony and San Francisco Symphony orchestras, and return visits to the Chamber Orchestra of Europe; the Tonhalle Orchester Zurich; the Accademia di Santa Cecilia; and the Philadelphia, St Petersburg Philharmonic, Royal Concertgebouw and Chicago Symphony orchestras.

Jurowski made his debut at the Metropolitan Opera, New York, in 1999 with Rigoletto, and has since returned for Jenůfa, The Queen of Spades and Hansel and Gretel.

He has conducted Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opera National de Paris; Eugene Onegin at Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and Iolanta and Die Teufel von Loudon at the Dresden Semperoper, as well as The Magic Flute, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera. Future engagements include new productions of Ariadne auf Naxos at Glyndebourne; Die Frau ohne Schatten at the Metropolitan Opera; Moses und Aron at the Komische Oper, Berlin; and The Fiery Angel at the Bayerische Staatsoper in Munich.

Jurowski’s discography includes the first ever recording of the cantata Exil by Giya Kancheli for ECM; Meyerbeer’s L’etoile du Nord for Marco Polo; Massenet’s Werther for BMG; and a series of records for PentaTone with the Russian National Orchestra. The London Philharmonic Orchestra has released a wide selection of his live recordings on its LPO Live label, including Brahms’s Symphonies Nos. 1 and 2; Mahler’s Symphonies Nos. 1 and 2; Rachmaninoff’s Symphonic Dances; Tchaikovsky’s Symphonies 1, 4, 5, 6 and Manfred; and works by Turnage, Holst, Britten, Shostakovich, Honegger and Haydn. His tenure as Music Director at Glyndebourne has been documented in a CD release of Prokofiev’s Betrothal in a Monastery, and DVD releases of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus, Don Giovanni, and Rachmaninoff’s The Miserly Knight. Other DVD releases include Hansel and Gretel from the Metropolitan Opera New York; his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler; and DVDs with the Orchestra of the Age of Enlightenment (Beethoven’s Symphonies Nos. 4 and 7) and the Chamber Orchestra of Europe (Strauss and Ravel), all released by Medici Arts.

Vladimir Jurowski’s position as Principal Conductor and Artistic Advisor of the London Philharmonic Orchestra is generously supported by the Tsukanov Family Foundation and one anonymous donor.

London Philharmonic Orchestra | 7

Barbara Hannigan

© Elmer de Haas

soprano

Born and brought up in Canada, soprano Barbara Hannigan received her Bachelor and Master of Music degrees from the University of Toronto, studying with Mary Morrison.

She continued her studies at the Royal Conservatory of The Hague with Meinard Kraak and privately with Neil Semer. Much sought-after in contemporary music – she has given over 80 world premieres – she is no less brilliant and devoted a performer of Baroque and Classical music. Bringing freshness to older music and authority to new, she is among the very few singers whose every performance is an occasion.

A frequent guest of the Berlin Philharmonic, she has also performed with most of the other leading orchestras and ensembles worldwide, and with such conductors as Sir Simon Rattle, Pierre Boulez, Reinbert de Leeuw, Esa-Pekka Salonen, Kurt Masur, Alan Gilbert, Jukka-Pekka Saraste and Pablo Heras-Casado. She made her own conducting debut at the Théâtre du Châtelet in Paris with Stravinsky’s Renard, which she most recently performed in London with the London Sinfonietta.

Future singing engagements include a tour with Sir Simon Rattle and the Berlin Philharmonic, and concerts with The Philadelphia Orchestra. Future conducting engagements include concerts with the Gothenburg Symphony Orchestra, Santa Cecilia in Rome, the WDR Orchestra of Cologne and the Prague Philharmonic Orchestra. She has worked with composers including György Ligeti, Karl-Heinz Stockhausen, Henri Dutilleux, Pierre Boulez, Oliver Knussen, Gerald Barry, George Benjamin and Pascal Dusapin.

Her operatic repertory has recently expanded to George Benjamin’s Written on Skin, created for the Aix-enProvence Festival in July 2012 and presented most recently at the Royal Opera House, Covent Garden. In this work, already widely accepted as a masterpiece of our times, Barbara’s searing performance of the role of Agnès has received unanimous and widespread plaudits.

8 | London Philharmonic Orchestra

Barbara recently made her highly acclaimed debut as Lulu in a new production of Berg’s opera at La Monnaie, Brussels, directed by Krzysztof Warlikowski.

Her appearances as dancer/singer in choreographer Sasha Waltz’s productions of Pascal Dusapin’s Passion and Toshio Hosokawa’s Matsukaze, requiring physical as well as vocal agility, made an extraordinary impression.

Ligeti’s Mysteries of the Macabre, a tour de force for soprano and orchestra, has become a signature work, which she has sung – and sometimes also conducted – at New York’s Lincoln Center, the Berlin Philharmonie, the Théâtre du Châtelet, the Salzburg Festival, Los Angeles’s Disney Hall, the Amsterdam Concertgebouw and the Vienna Konzerthaus. Her numerous performances of Dutilleux’s Correspondances for soprano and orchestra, another beloved work in her repertoire, led to the recent world premiere recording of the piece under the baton of Esa-Pekka Salonen with the Orchestre de Radio France, released on the Deutsche Grammophon label. Barbara’s talent for programming has also been widely recognised, evident in her major partnership with Southbank Centre’s innovative 2013 festival, The Rest Is Noise.

Programme notes

Music from Dark Times The Nazi regime, which came to power in Germany in January 1933 and exercised considerable influence in Austria even before the Anschluss of 1938, banned the works of Schoenberg and his pupils as ‘degenerate music’. This sanction did not distinguish between different applications of Schoenberg’s 12-note serial technique; for example between the vehemently expressive music of Alban Berg and the crystalline purity of the later works of Anton Webern.

The Nazi ban affected the prospects for Berg’s second opera, Lulu, which remained unfinished on the composer’s death in 1935. But the previous year Berg had completed a concert suite of ‘symphonic pieces’ from the opera, with a solo soprano representing the free-spirited Lulu herself and, at the end, the last of Lulu’s many ill-fated lovers, the Countess Geschwitz.

The application of the ban to Webern was paradoxical in view of the composer’s admiration for Hitler, but it duly prevented a performance in the German Reich of his last but one work, the compact Variations for Orchestra of 1940/41: for the premiere in 1943 he had to travel to neutral Switzerland.

Anton Webern

Before that, during the 1930s, Switzerland had provided succour for many composers who had fallen foul of the Nazis – in particular through the patronage of Paul Sacher, a generous musical philanthropist and conductor of the Basel Chamber Orchestra. Two composers supported by commissions from Sacher were the Hungarian Béla Bartók and the Czech Bohuslav Martinů – both of whom were later to seek refuge in the USA. For his Music for Strings, Percussion and Celeste of 1936, Bartók chose to divide the strings of the Basel orchestra into two antiphonal units, and add harp, piano, celeste, timpani and percussion; he adopted a plan in which two slow movements, the first fugal and the second an example of his atmospheric ‘night music’, alternate with two nervously propulsive quick movements. For his Double Concerto of 1938, Martinů similarly split the strings, adding only piano and timpani; the piece, cast in a traditional fast–slow–fast pattern, has a taut intensity that is unusual in the composer’s output, reflecting tensions in his personal life as well as in the rapidly deteriorating international situation.

Variations for Orchestra, Op. 30

1883–1945

Webern’s later works, those of roughly the last two decades before his untimely death in 1945, are written in a 12-note serial technique derived from that invented by his teacher, mentor and idol Arnold Schoenberg. The principle of the technique is that a single theme or ‘row’ consisting of all 12 notes of the chromatic scale, once each, is used to generate an entire work – ensuring both the work’s inner unity and a new kind of expression, free from the conventional formulae associated with major and minor keys. But whereas Schoenberg

conceived the row as first and foremost a melody, Webern devised rows in which different three-note or four-note segments were mirror images of one another, giving them a kind of crystalline internal structure.

Moreover, in working with this material, he employed techniques of strict canon which he had found in the works of the Renaissance masters, again often using mirror techniques (a rising interval answered by the same interval falling, and so on). But he concealed this process by dividing up a single line among different

London Philharmonic Orchestra | 9

Programme notes

instruments or voices, creating textures often described as ‘pointillist’. All this sounds extraordinarily abstract, and it was the purely technical aspects of Webern’s craft that had a huge influence on composers in the decades after his death. But the effect of his methods is to create tiny cells that seem, not drained of emotional content, but bursting with meaning. And the last works in particular generate an atmosphere of ‘nature mysticism’ reflecting Webern’s love of the high, remote mountain peaks of his native Austria, where he discerned, in words that he quoted from Goethe, ‘the mysterious clear light, as the highest energy, eternal, singular, and indivisible’.

Webern wrote his Variations for Orchestra between January 1940 and February 1941 at his final home in

the Viennese suburbs. It was his last but one completed work, and its premiere, given in March 1943 at Winterthur in neutral Switzerland, was the last occasion on which he heard any of his own music performed.

The piece lasts about seven minutes, and is scored for a small orchestra of four woodwind, four brass, timpani, celeste, harp and strings. Of course, any serial work consists in effect of continuous variation, but Webern gave this one the formal outline of a theme followed by six variations in contrasting textures. Characteristically, though, he also conceived it as an overture, with an introduction, an exposition of contrasting ideas, a developmental recapitulation and a coda. But he overlaid both schemes with continuous fluctuations of metre and tempo, creating a highly personal combination of rigour and rhapsody.

New release on the LPO Label Vladimir Jurowski conducts Mahler’s Symphony No. 1 Mahler Symphony No. 1 including original ‘Blumine’ movement

Vladimir Jurowski conductor London Philharmonic Orchestra LPO–0070 | £9.99 Released Monday 29 April Recorded live at Southbank Centre’s Royal Festival Hall, London, on 4 December 2010.

‘Jurowski made the first movement magnificent, generating a tremendous dramatic radiance.’ The Times, 12 December 2010 Available from 29 April from www.lpo.org.uk/shop, the LPO Box Office (020 7840 4242) and all good CD outlets. Downloads available from iTunes, Amazon, eMusic and classicsonline.com.

Sign up for LPO Label news: www.lpo.org.uk/shop

10 | London Philharmonic Orchestra

Alban Berg 1885–1935

Symphonic Pieces from the opera Lulu Barbara Hannigan soprano* 1 Rondo (Andante and Hymn) 2 Ostinato 3 Lulu’s Song* 4 Variations 5 Adagio (Sostenuto – Lento – Grave)*

The text is overleaf.

Alban Berg’s second opera, Lulu, is written in a highly personal version of the 12-note technique of his teacher Schoenberg, overlaid with elaborate formal schemes but imbued with great expressivity in its application to operatic characters and situations. Berg began composing the work in 1928, while living comfortably on the proceeds of his first opera, Wozzeck, which was enjoying great success in the German opera houses.

But it was still only in draft form in the spring of 1933, after the Nazi regime had come to power in Germany and imposed a virtual ban on modernist music such as Berg’s. In search of new sources of income, Berg abandoned work on the opera to fulfil commissions for the concert aria Der Wein and the Violin Concerto.

Because of this interruption, much of the third and last act of the opera remained unorchestrated at the time of Berg’s premature death on Christmas Eve 1935.

However, during 1934 Berg had completed a concert suite of ‘Symphonic Pieces’ from the opera (the last two movements of which were to aid Friedrich Cerha in his task of completing the score of the opera in the 1960s and ’70s). Berg dedicated this ‘Lulu Symphony’ to Schoenberg on his 60th birthday, and its third movement, ‘Lulu’s Song’, to his fellow pupil Webern on his 50th. The suite was given its first performance under fraught circumstances in Berlin in November 1934, conducted by Erich Kleiber (who shortly afterwards left the country). Berg was too ill to attend, but he did manage to get to a performance in his native Vienna just under a fortnight before his death – the last time he heard any of his own music performed.

The opera is based on two plays by Frank Wedekind, Earth Spirit and Pandora’s Box, both of which centre on the magnetic figure of Lulu, a free spirit whose promiscuity brings about the destruction of her lovers. The first, and longest, movement of the suite is a ‘Rondo’, with a closing Hymn, drawn chiefly from the episodes in Act II in which the young composer Alwa declares his love for her; the music conveys his romantic ardour, although the colouring of saxophone and vibraphone suggests the decadent atmosphere in which it is conceived. The ‘Ostinato’ is an orchestral interlude between the two scenes of Act II, intended to accompany a film sequence showing Lulu’s trial and imprisonment for the murder of her husband (and Alwa’s father) Dr Schön; the interlude stands at the centre of the opera and marks the turning-point of Lulu’s fortunes, and is accordingly constructed as a free palindrome. ‘Lulu’s Song’, which she sings to Dr Schön in Act II Scene 1, is her most direct statement in the opera, a proud assertion of independence. The ‘Variations’ form an interlude between the two scenes of Act III; their theme, a song written by the playwright Wedekind, is played by the horns near the start, but emerges most clearly at the end of the movement: in the opera, it is played on a barrel organ on the streets of London, where Lulu has become a prostitute. The final ‘Adagio’ is adapted from the last scene of the opera, in which Lulu and her most faithful lover, the Countess Geschwitz, are murdered by Jack the Ripper; after the climactic moment of Lulu’s death, it ends with the Countess’s dying words of love.

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

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Programme notes

3 Lulu’s Song Wenn sich die Menschen um meinetwillen Umgebracht haben, so setzt das meinen Wert nicht herab.

Du hast so gut gewusst, weswegen du mich Zur Frau nahmst, wie ich gewusst habe, weswegen ich dich zum Mann nahm.

Du hattest deine besten Freunde mit mir Betrogen, du konntest nicht gut auch noch dich selber mit mir betrügen.

Wenn du mir deinen Lebensabend zum Opfer bringst, so hast du meine ganze Jugend dafür gehabt.

Ich habe nie in der Welt etwas anderes Scheinen wollen, als wofür man mich genommen hat.

Und man hat mich nie in der Welt für Etwas anderes genommen, als was ich bin.

Although for my sake a man may kill himself or kill others, My value still remains what it was.

You know the reasons why you wanted to be my husband, And I know my reasons for hoping we should be married.

You let your dearest friends be deceived by what you made me, Yet you can’t consider yourself caught in your own deception.

Though you have given me your later and riper years, From me you’ve had my youth in flower as fair exchange.

I have not asked in my life to appear in another colour than the one which I am known to have.

Nor has any man in my life been led to look on me As other than what I am.

5 Adagio Lulu – mein Engel!

Lass dich noch einmal sehn!

Ich bin dir nah! Bleibe dir nah! In Ewigkeit!

Lulu – my angel!

Show yourself one more time!

I am near you! I am always near! Into eternity!

Alban Berg, after Erdgeist and Büchse der Pandora

by Frank Wedekind (1864–1918)

English translation: Arthur Jacobs © Copyright by Universal Edition A.G., Wien/UE 34115 Reproduced by permission. All rights reserved.

‘It’s been tremendously exciting to look on as the works I discuss in The Rest Is Noise have come together in Southbank Centre’s festival. Twentieth-century classical music is an extraordinary creative achievement that has shaped so many aspects of what we hear now, classical or not. There will always be something smouldering at the heart of this repertoire, something dangerous and untamed, but placing the music in a broad cultural and historical context should help people to become more comfortable with it and to understand how it came to be.’

Alex Ross, author, The Rest Is Noise southbankcentre.co.uk/therestisnoise

12 | London Philharmonic Orchestra

Bohuslav Martinů 1890–1959

Martinů’s Double Concerto was commissioned by the Swiss conductor and patron Paul Sacher in 1938 for his Basel Chamber Orchestra, which gave its premiere in February 1940. Martinů began work on the piece in August 1938, while staying at the family home of his French wife Charlotte in the countryside north of Paris.

But the following month, to hasten its completion, Sacher invited the couple to stay in a villa on his estate in the mountains south of Basel. The manuscript score of the work is inscribed ‘to my dear friend P S, in memory of a calm and anguished stay at Schönenberg, between the deer and the threat of war’. ‘The threat of war’ must have seemed ever-present at Schönenberg, close to the border with both France and Germany; and indeed the date of completion of the Concerto, 29 September, was also the date of the Munich Agreement, which effectively signed over Martinů’s native Czechoslovakia to Hitler’s armies. But private matters were also weighing on the composer’s mind: on recent visits to Czechoslovakia from his adopted home of Paris, he had fallen in love with his young and talented pupil Vítěslava Kaprálová. The tension of unresolved situations, both political and personal, gives the Concerto a powerful intensity exceptional in Martinů’s output.

The piece is a ‘concerto’ in the tradition of the Baroque concerto grosso, splitting up the orchestra into complementary groups. Following the example of Bartók in his Music for Strings, Percussion and Celeste, written for Sacher’s Basel Chamber Orchestra in 1936, Martinů chose to divide the string section of the orchestra into two equal halves, placed left and right on the platform, and to add additional keyboard and percussion instruments – though in his case no more than a piano and timpani. The opening section of the first movement reveals the power that can

Double Concerto for two string orchestras, piano and timpani Catherine Edwards piano Simon Carrington timpani 1 Poco allegro 2 Largo – Adagio 3 Allegro

be unleashed by the two bodies of strings, opposed or united, with the piano acting as a binding agent and the timpanist making incisive interjections.

Later, the textures are more varied, including flowing string counterpoint, fragments of melody against a background of string pizzicatos and dry piano chords, and a sustained crescendo driven by insistent semiquavers towards a free reprise of the opening section and an animated coda.

The central slow movement begins with four bars of uneasily dissonant chords in a chaconne rhythm, followed by a build-up towards an anguished climax.

Prominent in this passage is a three-note rising chromatic scale; and the same figure recurs in the muttered cello and bass phrases that introduce two long solos for the piano, then in the central section leading up to the return of the opening, and finally in the calmer coda. The finale begins with driving rhythmic intensity, enhanced by tremolos and Martinů’s characteristic syncopated rhythms. This is maintained through the central section of the movement and into a recapitulation that erupts into a hectic Vivo.

Then the rising chromatic figure of the second movement returns, building up to a restatement of that movement’s opening chords. These bring the Concerto to a harmonically irresolute end – as if staring into an unknown future.

London Philharmonic Orchestra | 13

Béla Bartók 1881–1945

Bartók composed this austerely named masterpiece in Budapest in the summer of 1936, when he was at the height of his European fame. It had been commissioned by the Swiss conductor and patron Paul Sacher to celebrate the tenth anniversary of his Basel Chamber Orchestra, and was first performed in Basel in January 1937. Sacher’s orchestra was larger than most chamber orchestras of more recent years, and capable of expansion. Bartók decided from the start that he would augment the basic string orchestra with other instruments: in the end he chose harp and piano (presumably counting both as part of the ‘strings’ of his title), celeste (the player doubles as a second pianist a couple of times in the last movement), xylophone, timpani and unpitched percussion. He also decided to divide the strings into two orchestras, placed left and right, to allow both antiphonal effects and increased clarity of counterpoint among instruments of similar colour and range.

All his life, Bartók avoided the traditional fourmovement plan of the Classical and Romantic symphony and quartet; and, although this work is in four movements, they are arranged in the slow–fast– slow–fast pattern of the Baroque sonata da chiesa. The first movement is an intense fugue, reminiscent of that in Beethoven’s late String Quartet in C-sharp minor; it is based on a winding chromatic subject in changing metres, which is later turned upside-down. The strings are muted at the start, but the mutes come off as the movement approaches its climactic mid-point, briefly underpinned by the percussion; then they are restored for the ending, which includes an unexpected dazzle of celeste.

14 | London Philharmonic Orchestra

Music for Strings, Percussion and Celeste 1 Andante tranquillo 2 Allegro 3 Adagio 4 Allegro molto

The second movement is a sonata-form Allegro with prominent parts for the piano and harp. The central section includes a passage of Stravinskyan syncopation, with pizzicato strings, which is based on the upsidedown version of the fugue subject, followed by a development based on falling and rising scale figures.

The recapitulation transforms the themes of the opening section from their original 2/4 metre into (mostly) 3/8, although duple time is restored in the coda.

The third movement is an example of Bartók’s familiar vein of atmospheric ‘night music’, full of mysterious sounds of nature, and rising to a climax of anguished introspection. The composer himself analysed the movement drily in terms of ‘bridge’ (or arch) form, A–B–C + D–B–A: C is coloured by swirling scales on piano, celeste and harp; D is the strident climax; the melody of B, initially introduced by the celeste and two solo violins, returns in a free canon, counterpointed by celeste arpeggios and piano and harp tremolos.

The fugue subject of the first movement is never far away here, and segments of it link the various sections.

The dance-like finale is in a loosely structured rondo form, with a main theme of falling and rising scales in syncopated rhythms, related to the scalewise episode in the second movement. The opening fugue subject also reappears once more towards the end of this finale, its narrow chromatic intervals widened to turn it into a broad modal melody. It is followed by a coda of rapidly shifting tempo markings but irresistible momentum.

Programme notes by Anthony Burton © 2013

Last LPO concerts this season at Southbank Centre

Wednesday 1 May 2013 | 7.30pm Royal Festival Hall Vaughan Williams Symphony No. 4 Tippett A Child of our Time Ryan Wigglesworth conductor Rebecca Evans soprano Pamela Helen Stephen mezzo soprano Ben Johnson tenor Matthew Rose bass London Philharmonic Choir Tickets £9–£39 (Premium seats £65) Free pre-concert discussion 6.15–6.45pm | Royal Festival Hall Writer and broadcaster Daniel Snowman takes a look at Tippett’s A Child of our Time.

Friday 17 May 2013 | 7.30pm Royal Festival Hall JTI Friday Series Stravinsky Jeu de Cartes Prokofiev Violin Concerto No. 2 Shostakovich Symphony No. 6 Vladimir Jurowski conductor Patricia Kopatchinskaja violin Tickets £9–£39 (Premium seats £65)

Monday 10 June 2013 | 7.30pm Queen Elizabeth Hall Debut Sounds Oliver Knussen Music For a Puppet Court Grisey Modulations And world premieres of music by Leverhulme Young Composers Hannah Kendall, Daniel Kidane, Peter Yarde Martin and Stephen Willey Clement Power conductor London Philharmonic Orchestra Foyle Future Firsts Members of the London Philharmonic Orchestra All tickets £9

Booking details London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday to Friday 10.00am–5.00pm lpo.org.uk Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk

2013/14 season concerts – on sale now Our 2013/14 season concerts at Royal Festival Hall are on sale now. Browse and book online at www.lpo.org.uk/newseason, pick up a copy of the season brochure from the Royal Festival Hall foyer racks this evening, or call us on 020 7840 4208 to request a copy of the brochure or to book by phone.

Highlights of the new season include: • Vladimir Jurowski opens the season with a centenary celebration of the music of Britten, including Peter Grimes and the War Requiem • Yannick Nézet-Séguin demonstrates his flair for French repertoire with Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s magnificent ‘Organ’ Symphony • The Orchestra celebrates The Genius of Film Music, exploring some of the scintillating film scores created between 1960–2000 • Vladimir Jurowski brings The Rest Is Noise to a close on 14 December 2013 with John Adams’s powerful and theatrical ‘Nativity Oratorio’, El Niño • World premieres of James MacMillan’s Viola Concerto, with soloist Lawrence Power, and Górecki’s Fourth Symphony • Classical guitarist Miloš Karadaglič performs Rodrigo’s evocative Concierto de Aranjuez • Legendary pianists Mitsuko Uchida and Leif Ove Andsnes join the Orchestra for Beethoven’s Piano Concertos Nos. 3 and 5 respectively

London Philharmonic Orchestra | 15

London Philharmonic Orchestra Birthday Appeal update Two double bass stools

Three tom-toms

Illustrations for our FUNharmonics family concerts

Recording a concert for live stream

Thank you so much to all of our audience members who have given us a birthday present for our 80th birthday.

Thanks to you, the Appeal has already raised over £12,000 and the double bass stools and tom-toms are on their way!

However, we still need your help with the other presents on our wish list, such as our children’s concerts illustrations and recording for a live stream. Please visit www.lpo.org.uk/birthday and help celebrate our 80th by donating to our wish list. All presents, big or small, will be gratefully received by the Orchestra and, while you’re at it, why not leave us a birthday message or memory from the last 80 years?

‘For 20 years you have been one of the unfailing delights in my life, and I am lucky to have access to such a great orchestra, conductors and soloists at prices unmatched in Europe.’

‘I think The Rest Is Noise will turn out to be a highlight, something to look back on. The concerts I have been to so far have been superb. Keep up the good work.’

‘I’m about to be 80 too and have just left the London Philharmonic Choir after 41 years singing many marvellous concerts with you. My last was Gerontius with Sir Mark Elder in January, and I very much enjoyed The Threepenny Opera!’

With special thanks to the following people who have given over £250 to our Birthday Appeal:

Or a gift to spend on whatever we need most

Mr Aldwinckle, Mrs A Beare, Mr G Bitar, Mr C Blakey, Mr G A Collens, Mrs S Drexler, Mr D Gray, Mrs A Kessler, Mr R P Harsant, Mr M Hutchinson, Dr & Mrs F Lim, Mr R McCann, Don Kelly & Ann Wood, Mrs G Pole, The Sharp Family, Mr C Williams

Get involved and visit www.lpo.org.uk/birthday for more information.

Alternatively get in touch via katherine.hattersley@lpo.org.uk or call 020 7840 4212.

16 | London Philharmonic Orchestra

Orchestra news

New LPO Label release: Vladimir Jurowski conducts Mahler’s Symphony No. 1 This week sees an exciting new release on the Orchestra’s own CD label: Mahler’s Symphony No. 1 under Principal Conductor Vladimir Jurowski, recorded live in concert at Royal Festival Hall on 4 December 2010 (LPO-0070).

The recording includes the Symphony’s original second movement, ‘Blumine’.

This is the second Mahler symphony recording by Vladimir Jurowski on the LPO Label – No. 2 (released in 2011) met with great acclaim and has become one of the label’s best-selling recordings.

The new CD is priced £9.99 and is available from 29 April from lpo.org.uk/shop, the LPO Box Office (020 7840 4242) and all good CD retailers. Alternatively you can download it from iTunes. Visit lpo.org.uk/shop for more details.

Live and Local: the LPO in Northern England We are excited to announce a new ‘Live and Local’ tour during May and June, comprising concerts in Bradford (7 May), Blackburn (8 May), Liverpool (22 June) and Manchester (26 June).

For the first pair of concerts in Bradford and Blackburn, we welcome Classic BRIT Award-winning classical guitarist Miloš Karadaglić for a concert of orchestral favourites including Rodrigo’s Concierto de Aranjuez and Beethoven’s Fifth Symphony. In June, we perform in Liverpool and Manchester alongside high-definition films of breathtaking NASA footage in two celestialthemed concerts featuring Holst’s The Planets and John Adams’s Short Ride in a Fast Machine.

Thanks to the generous support of our long-term corporate partner JTI, tickets to each concert are just £15. So whether you live in the North-West or Yorkshire, are visiting the area over the summer, or have friends and family who might enjoy a night with the LPO, book now!

LPO at the BBC Proms: 27 & 30 August 2013 This summer the Orchestra makes two appearances at the BBC Proms. On Tuesday 27 August our Glyndebourne Prom celebrates Britten’s centenary with a semi-staged performance of Billy Budd under Sir Andrew Davis, with the cast of the 2013 Glyndebourne Festival Opera production. And on Friday 30 August, Vladimir Jurowski conducts the Orchestra in The Witch of Atlas

by British composer Sir Granville Bantock, Prokofiev’s Piano Concerto No. 3 with soloist Anika Vavic, Sibelius’s Pohjola’s Daughter and Strauss’s Also sprach Zarathustra.

Booking opens on 11 May, and tickets are available directly from the BBC Proms Box Office. Tickets range from £7.50–£57, or you can queue on the day for standing ‘Promming’ tickets for just £5. Phone the BBC Proms Box Office on 0845 401 5045 or book online: bbc.co.uk/proms

The Cunning Little Vixen: Glyndebourne DVD release Recently released on DVD and Blu-ray is the Glyndebourne Festival Opera’s 2012 production of Janáček’s opera The Cunning Little Vixen, featuring the London Philharmonic Orchestra conducted by Vladimir Jurowski. The director is Melly Still and the cast includes Lucy Crowe, Emma Bell, Mischa Schelomianski and Sergei Leiferkus.

Watch a video trailer or order now from the Glyndebourne website: glyndebourne.com/shop

www.lpo.org.uk/newseason/liveandlocal.html

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CHAMBER CONTRASTS Wigmore Hall, London Soloists of the London Philharmonic Orchestra and Foyle Future Firsts Members Sunday 28 April | 7.30pm Wigmore Hall

Thursday 13 June | 7.30pm Wigmore Hall

MILHAUD Wind Quintet, Op. 443 FRANÇAIX Wind Quintet No. 1 MARTINŮ Sextet for piano and wind BEETHOVEN Quintet for piano and wind in E-flat major, Op. 16

MOZART String Quintet No. 1 in B-flat major, K174 IRELAND Sextet for clarinet, horn and string quartet BRAHMS String Sextet in G major, Op. 36

Soloists of the London Philharmonic Orchestra Catherine Edwards piano

London Philharmonic Orchestra Foyle Future Firsts and Guests

The London Philharmonic Orchestra’s Chamber Contrasts series at Wigmore Hall is generously supported by Dunard Fund.

Pantone 293 4-colour process: 100%Cyan 57% Magenta. 2% Black

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Foyle Future Firsts supported by

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BOOK NOW Tickets £12, £16, £22, £26 London Philharmonic Orchestra Box Office 020 7840 4242 | lpo.org.uk (No booking fee) Wigmore Hall Box Office 020 7935 2141 | wigmore-hall.org.uk Booking fees apply a

Black tint 30%

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Logo strip. Where the logo appears on a blue strip of pantone 293, there must be equal space from top of strip to top of logo and bottom of logo to bottom of strip. Artwork here shows 5mm

18 | London Philharmonic Orchestra Company Title set in Aldine 721 Lt BT

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 Moya Greene John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Manon Williams Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mr Charles Dumas

David Ellen Commander Vincent Evans Mr Daniel Goldstein Don Kelly & Ann Wood Peter MacDonald Eggers Mr & Mrs David Malpas Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Anthony Yolland Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry 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 Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK British American Business Destination Québec – UK Hermes Fund Managers Pritchard Englefield Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Lazard Leventis Overseas Corporate Donor Lombard Street Research Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets

Trusts and Foundations BBC Performing Arts Fund The Boltini Trust Sir William Boreman’s Foundation The Boshier-Hinton Foundation Britten-Pears Foundation The Candide Trust The Ernest Cook Trust The Coutts Charitable Trust Diaphonique, Franco-British fund for contemporary music 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 Capital Radio’s Help a London Child The Hobson Charity The Kirby Laing Foundation The Idlewild Trust The Leverhulme Trust Marsh Christian Trust Adam Mickiewicz Institute

The Peter Minet Trust Paul Morgan Charitable Trust The Diana and Allan Morgenthau Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund Newcomen Collett Foundation The Ann and Frederick O’Brien Charitable Trust The Austin & Hope Pilkington Trust The R K Charitable Trust Serge Rachmaninoff Foundation The Rothschild Foundation The Samuel Sebba Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust The Underwood Trust Sir Siegmund Warburg’s Voluntary Settlement Kurt Weill Foundation for Music Garfield Weston Foundation and others who wish to remain anonymous

London Philharmonic Orchestra | 19

Administration

Board of Directors

General Administration

Orchestra Personnel

Archives

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

Timothy Walker AM Chief Executive and Artistic Director

Andrew Chenery Orchestra Personnel Manager

Philip Stuart Discographer

Sarah Thomas Librarian (maternity leave)

Gillian Pole Recordings Archive

Sarah Holmes Librarian (maternity cover)

Professional Services

* Player-Director

Advisory Council Victoria Sharp Chairman Richard Brass Sir Alan Collins Andrew Davenport Jonathan Dawson Christopher Fraser OBE Clive Marks OBE FCA Stewart McIlwham Lord Sharman of Redlynch OBE Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Margot Astrachan Chairman David E. R. Dangoor Vice Chair/Treasurer Kyung-Wha Chung Peter M. Felix CBE Alexandra Jupin Dr. Felisa B. Kaplan William A. Kerr 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 Robert Kuchner, CPA

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

Michael Pattison Stage Manager

Jo Orr PA to the Chief Executive / Concerts Assistant

Marketing

Matthew Freeman Recordings Consultant

Mia Roberts Marketing Manager

Education & Community

Rachel Williams Publications Manager

Charles Russell Solicitors

Crowe Clark Whitehill LLP Julia Boon Auditors Assistant Orchestra Personnel David Greenslade Manager FSC_57678 14 January 2011 15/09/2011 12:30 Page 1Dr Louise Miller Finance and ITLPO Manager Honorary Doctor Brian Hart Concert Management Transport Manager London Philharmonic Roanna Gibson Development Orchestra Concerts Director 89 Albert Embankment (maternity leave) Nick Jackman London SE1 7TP Development Director Ruth Sansom Tel: 020 7840 4200 Artistic Administrator / Acting Fax: 020 7840 4201 Helen Searl Head of Concerts Department Box Office: 020 7840 4242 Corporate Relations Manager lpo.org.uk Graham Wood Katherine Hattersley Concerts and Recordings Charitable Giving Manager The London Philharmonic Manager Orchestra Limited is a Melissa Van Emden registered charity No. 238045.

Barbara Palczynski Events Manager Glyndebourne and Projects Photograph of Webern © Laura Luckhurst Administrator Universal Edition. Photograph Corporate Relations and Jenny Chadwick of Martinů © Boosey & Events Officer Tours and Engagements Hawkes.

Sarah Fletcher Manager Development and Finance Front cover photograph Alison Jones Officer © Patrick Harrison.

Concerts Co-ordinator

Patrick Bailey Education and Community Director Alexandra Clarke Education Manager Caz Vale Community and Young Talent Manager Richard Mallett Education and Community Producer

20 | London Philharmonic Orchestra

Kath Trout Marketing Director

Samantha Kendall Box Office Manager (Tel: 020 7840 4242) Libby Northcote-Green Marketing Co-ordinator Isobel King Intern Albion Media Public Relations (Tel: 020 3077 4930)

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