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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†

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Wednesday 2 May 2012 | 7.30pm

VLADIMIR JUROWSKI conductor MARTIN HELMCHEN piano LONDON PHILHARMONIC CHOIR

janÁČek Suite, The Cunning Little Vixen (22’) dvoŘÁk Piano Concerto in G minor, Op. 33** (36’) Interval SUK Symphonic Poem, Ripening, Op. 34 (40’) ** Supported by Dunard Fund

Free pre-concert discussion 6.15–6.45pm | Royal Festival Hall Professor Geoffrey Chew explores these three giants of the Czech repertoire.

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

PROGRAMME £3 CONTENTS 2 Southbank Centre / Leader 3 List of players 4 Vladimir Jurowski 5 Martin Helmchen 6 London Philharmonic Choir 7 Programme notes 12 About the Orchestra 13 LPO soloists at Wigmore Hall 14 New recordings 16 Next concerts 17 Supporters 18 Orchestra news 19 Annual Appeal 2011/12 20 LPO administration The timings shown are not precise and are given only as a guide.

Welcome

pieter schoeman Leader

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

WELCOME TO SOUTHBANK CENTRE

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.

Parking at Southbank Centre From 18 April 2012, Southbank Centre car parks are operating on a Pay-by-Phone system, which is both quicker and more convenient. If you are a regular visitor, you may wish to register in advance by visiting www.apcoa.co.uk/connect For those unable to pay by phone, Pay and Display machines will also be available. Details of how to pay will be displayed at each car park. Please note the concessionary rate for customers attending paid, ticketed events at Southbank Centre is no longer available. For more information and full details of the new rates, please visit www.southbankcentre.co.uk/ visitor-info or phone Apcoa on 020 7620 0397.

2 | London Philharmonic Orchestra

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.

Born in South Africa, he made his solo début aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has performed frequently as Guest Leader with the symphony orchestras of Barcelona, Bordeaux, Lyon and Baltimore, as well as with the BBC Symphony Orchestra. Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance.

LONDON PHILHARMONIC ORCHESTRA

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

Ilyoung Chae Katalin Varnagy Catherine Craig Thomas Eisner Tina Gruenberg Martin Hรถhmann Chair supported by Richard Karl Goeltz

Geoffrey Lynn Robert Pool Sarah Streatfeild Yang Zhang Rebecca Shorrock Alain Petitclerc Peter Nall Galina Tanney Second Violins Philippe Honore Guest Principal Jeongmin Kim Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Fiona Higham Ashley Stevens Marie-Anne Mairesse Nancy Elan Nynke Hijlkema Sioni Williams Stephen Stewart Elizabeth Baldey Steve Dinwoodie Peter Graham Alison Strange Naomi Anner

Violas Cyrille Mercier Guest Principal Robert Duncan Gregory Aronovich Katharine Leek Benedetto Pollani Laura Vallejo Susanne Martens Daniel Cornford Isabel Pereira Naomi Holt Sarah Malcolm Miranda Davis Pamela Ferriman Stephen Gorringe

Flutes Sue Thomas Principal Jane Spiers

Trombones Mark Templeton* Principal David Whitehouse

Piccolos Katie Bicknell Hannah Grayson

Bass Trombone Lyndon Meredith

Cellos Kristina Blaumane Principal Susanne Beer Co-Principal Francis Bucknall Laura Donoghue Jonathan Ayling

Clarinets Nicholas Carpenter* Principal Emily Meredith

Chair supported by Caroline, Jamie & Zander Sharp

Gregory Walmsley Susan Sutherley Susanna Riddell Liubov Ulybysheva Tom Roff Helen Rathbone David Bucknall Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Jeremy Watt Helen Rowlands Tom Walley Catherine Ricketts John Bakewell

Oboes Ian Hardwick Principal Angela Tennick Cor Anglais Sue Bohling Principal Chair supported by Julian & Gill Simmonds

Bass Clarinet Paul Richards Principal Bassoons Gareth Newman* Principal Emma Harding Contra-bassoon Simon Estell Principal Horns John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Adrian Uren Anthony Chidell

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

Keith Millar Ignacio Molins Eddy Hackett Harps Rachel Masters* Principal Lucy Haslar Piano / Celeste Bernard Robertson Celeste Alistair Young

Assistant Conductor Nicholas Collon Chair supported by an anonymous donor

* Holds a professorial appointment in London

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

Nicholas Betts Co-Principal

London Philharmonic Orchestra | 3

VLADIMIR JUROWSKI

CONDUCTOR

Born in Moscow, the son of conductor Mikhail Jurowski, Vladimir Jurowski completed his initial studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany where he continued his studies in Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival, where he conducted Rimsky-Korsakov’s May Night. The same year saw his brilliant début at the Royal Opera House, Covent Garden, in Nabucco. In 1996 he joined the ensemble of Komische Oper Berlin, becoming First Kapellmeister in 1997 and continuing to work at the Komische Oper on a permanent basis until 2001. Since 1997 Vladimir Jurowski has been a guest at some of the world’s leading musical institutions including the Royal Opera House, Covent Garden; Teatro La Fenice di Venezia; Opéra Bastille de Paris; Théâtre de la Monnaie Bruxelles; Maggio Musicale Festival, Florence; Rossini Opera Festival, Pesaro; Edinburgh International Festival; Dresden Semperoper; and the Teatro Comunale di Bologna (where he served as Principal Guest Conductor between 2000 and 2003). In 1999 he made his début at the Metropolitan Opera in New York with Rigoletto. In January 2001 Jurowski took up the position of Music Director of Glyndebourne Festival Opera 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 with the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. From 2005 to 2009 he served as Principal Guest Conductor of the Russian National Orchestra, with whom he continues to work and whom he will conduct in two concerts at Royal Festival Hall in October 2012 as part of a joint ‘War & Peace’ mini-series with the LPO. Vladimir Jurowski is a regular guest with many of the world’s leading orchestras including the Berlin Philharmonic, Oslo Philharmonic, Royal Concertgebouw, Bavarian Radio Symphony, Los Angeles Philharmonic

4 | London Philharmonic Orchestra

and Philadelphia orchestras, as well as the Staatskapelle Dresden and the Gewandhausorchester Leipzig. Highlights of the 2011/12 season and beyond include his débuts with the Vienna Philharmonic, Boston Symphony Orchestra, NHK Symphony Orchestra Tokyo and San Francisco Symphony, and return visits to the Chamber Orchestra of Europe, Staatskapelle Dresden, Tonhalle Orchester Zurich, Accademia Nazionale di Santa Cecilia and the Chicago Symphony, St Petersburg Philharmonic, Royal Concertgebouw and Philadelphia orchestras. Jurowski’s operatic engagements have included Jenůfa, The Queen of Spades and Hänsel und Gretel at the Metropolitan Opera, Parsifal and Wozzeck at Welsh National Opera, War and Peace at the Opéra National de Paris, Eugene Onegin at La Scala Milan, Iolanta at the Dresden Semperoper and Ruslan and Ludmila at the Bolshoi Theatre, as well as The Magic Flute, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera. Future engagements include new productions of Ariadne auf Naxos and The Cunning Little Vixen at Glyndebourne, Die Frau ohne Schatten at the Metropolitan Opera and Moses und Aron at the Komische Oper Berlin. Jurowski’s discography includes the first ever recording of Giya Kancheli’s cantata Exil for ECM, Meyerbeer’s L’étoile du nord for Naxos-Marco Polo, and Werther for BMG, as well as numerous live recordings on the London Philharmonic Orchestra’s own label. He has also recorded works by Prokofiev, Shostakovich, Tchaikovsky and Stravinsky for PentaTone with the Russian National Orchestra. Vladimir Jurowski’s position as Principal Conductor of the London Philharmonic Orchestra is generously supported by the Tsukanov Family.

martin helmchen

PIANO

With his highly virtuosic yet unpretentious style, pianist Martin Helmchen continues to make his impression on the international music scene, including recent impressive débuts with the Berlin Philharmonic and Herbert Blomstedt; the Vienna Philharmonic and Valery Gergiev; and the City of Birmingham Symphony Orchestra and Andris Nelsons. In the USA he made his concerto début with Christoph von Dohnányi and the Boston Symphony Orchestra at the 2011 Tanglewood Festival. During the 2011/12 season, Martin Helmchen has been Artist in Residence with the Zurich Tonhalle Orchestra and David Zinman. He has also performed with the NDR Hamburg and Semyon Bychkov; the Deutsche Symphonie-Orchester Berlin and David Afkham; and the Dresden Philharmonic with Michael Sanderling. In the UK he has appeared with the Philharmonia and Diego Matheuz. He has also collaborated with Sir Mark Elder and the Rotterdam Philharmonic Orchestra; Sir Roger Norrington and the NHK Symphony, Tokyo; and on tour with the Academy of St Martin in the Fields and Sir Neville Marriner in Vienna and Budapest. In the USA, Martin Helmchen made his début with the St Louis Symphony Orchestra under the baton of Jaap van Zweden, also giving an acclaimed recital at New York’s Frick Collection. He joined his wife, cellist MarieElisabeth Hecker, for a début duo recital in Carnegie Hall’s Zenkel Hall, New York, and gave recitals at Frankfurt’s Alte Oper, as well as other cities in Germany, Spain and Switzerland.

Orchestra and John Storgårds; and a German tour with Andris Nelsons and the City of Birmingham Symphony Orchestra. An exclusive PentaTone artist since 2007, Helmchen has recorded discs of Mozart, Mendelssohn, Schumann and Dvořák concertos. His first solo recording of Schubert works won an ECHO Award in 2009, and a disc of Schubert duos with Julia Fischer has won no less acclaim. During 2012/13 he will record his second Mozart concertos disc, returning to collaborate with the Netherlands Chamber Orchestra led by Gordan Nikolic. Martin Helmchen continues to study with Galina Iwanzowa in Berlin; with Arie Vardie at the Hochschule für Musik, Hannover; and with William Grant Naboré from the Klavierakademie Comer See. An early impact on his career was winning the 2001 Clara Haskil Competition. He was also a Fellow of the BorlettiBuitoni Trust in 2005 and Credit Suisse Young Artist in 2006, culminating with his début with the Vienna Philharmonic Orchestra under Valery Gergiev at the Lucerne Festival. Between 2005 and 2007 Martin Helmchen was a participant in the BBC New Generation Artists scheme.

With a passion for chamber music largely ignited by early collaborations with the late cellist Boris Pergamenschikow, during 2011/12 Martin Helmchen performed throughout Europe with Heinrich Schiff, Sabine Meyer, Veronika Eberle, Julia Fischer, Christian Tetzlaff and Juliane Banse. Highlights for the 2012/13 season include collaborations with Christoph von Dohnányi and the Leipzig Gewandhaus and Philharmonia orchestras; a début with the Royal Stockholm Philharmonic London Philharmonic Orchestra | 5

london philharmonic choir PATRON HRH Princess Alexandra | PRESIDENT Sir Roger Norrington | ARTISTIC DIRECTOR Neville Creed ACCOMPANIST Jonathan Beatty | CHAIRMAN Mary Moore | CHOIR MANAGER Kevin Darnell

Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir performed at the Doctor Who Proms in 2008 and 2010, and last year appeared in Verdi’s Requiem, Liszt’s A Faust Symphony and Beethoven’s Missa Solemnis. This season it will perform Elgar’s The Apostles and Howells’s Hymnus Paradisi.

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors throughout the last 65 years and made numerous recordings for CD, radio and television. Its Artistic Director is Neville Creed. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. In 2010/11, engagements included Mahler’s Symphony No. 3 and Das klagende Lied, Bartók’s The Miraculous Mandarin, Dvořák’s Te Deum and Stabat Mater, Fauré’s Requiem, Holst’s The Planets, and Elgar’s The Dream of Gerontius. This season, concerts with the LPO have included Scriabin’s Prometheus, Poem of Fire, Rossini’s Stabat Mater, Prokofiev’s Ivan the Terrible, Bruckner’s Te Deum, Szymanowski’s Symphony No. 3, Zemlinsky’s Psalm 23 and Delius’s Sea Drift. Recently released CDs with the London Philharmonic Orchestra include Dvořák’s Requiem conducted by Neeme Järvi, Brahms’s Ein deutsches Requiem with Yannick Nézet-Séguin; and Holst’s The Planets, Mahler’s Symphony No. 2, Haydn’s The Seven Last Words of our Saviour on the Cross and Honegger’s Une Cantate de Noël under Vladimir Jurowski. The Choir appears regularly at the BBC Proms at the Royal Albert Hall, and performances have included the UK premières of Mark-Anthony Turnage’s A Relic of

6 | London Philharmonic Orchestra

The Choir works with other leading orchestras, has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. The Choir has just returned from the Touquet International Music Masters Festival in France, performing Beethoven’s Symphony No. 9, and in June will join forces with the London Symphony Orchestra and Chorus to perform Berlioz’s Grande Messe des Morts with Sir Colin Davis at St Paul’s Cathedral. The Choir also sings in Raymond Gubbay’s Classical Spectacular and Christmas concerts, and has appeared in gala concerts with Russell Watson and Katherine Jenkins. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit www.lpc.org.uk Sopranos Catherine Allum, Annette Argent, Paula Chessell, Sheila Cox, Lucy Doig, Alison Flood, Rachel Gibbon, Elisabeth Giselbrecht, Emily Gray, Jane Hanson, Sally Harrison, Elizabeth Hicks, Mai Kikkawa, Olivia Knibbs, Ilona Kratochvilova, Suzannah Lipmann, Janey Maxwell, Marj McDaid, Katie Milton, Linda Park, Rebecca Schendal, Sarah Skinner, Claire Spencer, Laura Westcott Altos Joanna Arnold, Andrei Caracoti, Margaret de Valois Rowney, Lynn Eaton, Kathryn Gilfoy, Claire Lawrence, Sophie Morrison, Angela Pascoe, Erica Ricci, Muriel Swijghuisen Reigersberg, Rachel Taylor, Susi Underwood, Philippa Walden

PROGRAMME NOTES

Speedread Leos Janáček and Josef Suk were born 20 years apart in the same area of Eastern Europe now recognised as the Czech Republic. In one sense, they are opposites: one was a radical, a peasant-born outsider from the countryside (Janáček, the elder); the other was a member of Czech musical aristocracy, embedded in the country’s symphonic tradition (Suk, the younger). In any context, Janáček is one of music’s true oneoffs. He reinvented the concept of wedding classical and folk music and with his unique approach to orchestration developed an uncompromising musical realism. ‘Where Janáček carves with the knife’, said the great Czech conductor Václav Talich, ‘Suk draws with the most delicate pen.’ Tonight we hear a suite from Janáček’s ‘animal opera’ and the most imposing

Leoš JANÁČEK

of Suk’s great symphonic edifices carved out of personal tragedy. Though their music sprang from the heart like nobody else’s, both Janáček and Suk owed much to their senior Antonín Dvořák – the nationalist Czech composer par excellence and the stylistic anchor in tonight’s programme. Suk was Dvořák’s son-in-law, his musical and literal heir. But Janáček learnt much from Dvořák too, not least in reassessing the place of folk tunes in concert and operatic music. The composer’s Piano Concerto is a rare beast these days, ferociously difficult and often maligned for its curious idiosyncrasies. But as Janáček proved later on, great music – like life itself – doesn’t have to be polite, smooth and easy.

Suite, The Cunning Little Vixen (arr. Talich, REV. mackerras) I Andante II Andante

1854–1928

As musical nationalism swept through Europe in the 18th and 19th centuries, a number of composers emerged in what is now the Czech Republic who sought to reflect the accent of their homeland in music. Janáček was among them, but he was different. He was a realist. While the likes of Dvořák and Suk were city sophisticates, Janáček – like that other great realist Béla Bartók – was born into a rural peasant family. That, in part, holds the key to unlocking Janáček’s very individual music. While most nationalist composers sought to ennoble the tradition of folk music by placing it in classical forms, Janáček turned the process on its head by taking vernacular music as his starting point.

He explored a style of writing that matched the rhythms of Czech speech and captured the raw, unclean nature of peasant life and art. And it wasn’t just human voices that Janáček sought to imitate. Later in life the composer owned a large stretch of forest in his native village near the Carpathian mountains. There, he’d listen to and ‘transcribe’ the songs and protestations of the animals. This raw inspiration found a home in his 1924 opera telling of a vixen possessed of human attributes; a tale of nature’s endless cycle of life and death as seen by three human protagonists. Continued overleaf

London Philharmonic Orchestra | 7

PROGRAMME NOTES

Short orchestral suites exist for most of Janáček’s operas, many of them arranged by the Czech conductor Václav Talich. His work on the suite from The Cunning Little Vixen is effectively a transcription of various chunks of music from the opera’s first act seamlessly woven together: most of the overture; the ensuing passage in which Bystrouška (the Vixen) is caught (a picture of a bright, sunlit forest afternoon); the orchestral introduction to the second scene; and the whole of the act’s closing scene (in which the Vixen slaughters the hens one by one, wringing their necks).

There’s a further back-story to the Suite, too. Talich had earlier asked two associates to re-orchestrate parts of Janáček’s fiercely difficult score for a stage production of the opera at the National Theatre in Prague in 1937. František Škvor was responsible for the first act’s re-orchestration – meant, according to Janáček bibliographer Nigel Simeone, ‘to ease hairraising technical demands … and underline the music’s sensuality.’ These re-touchings, which mostly adapted the woodwind writing, are the orchestrations we hear in the Suite – which was itself subjected to minor alterations at the hand of the conductor František Smetáček.

Antonín DVOŘÁK

piano concerto in g minor, op. 33

1841–1904

The nationalism of Antonín Dvořák was far more conventional than that of Leoš Janáček, but it didn’t stop the former composer deservedly becoming Europe’s nationalist composer par excellence. Dvořák was a sublime melodist and a fine orchestrator, able to combine the ‘classical’ Viennese style of well-argued, seamlessly knit textures with his own romantic sensibility and polite use of indigenous folk material. His music might be distinctively Czech, but it has long enjoyed worldwide popularity. The Dvořák love-in ends, though, when discussion of his Piano Concerto begins. This is one piece that has caused the composer considerable posthumous problems. Rumblings began in Dvořák’s own lifetime, when pianists claimed the Concerto’s solo part was ‘un-pianistic’. Musicologists weighed in, drawing attention to ‘clumsy’ and ‘unidiomatic’ passages from the pen of a composer who was best when writing for strings (accusations which Dvořák largely accepted).

8 | London Philharmonic Orchestra

martin helmchen piano I Allegro agitato II Andante sostenuto III Allegro con fuoco

In the 20th century a revised edition of the piece by pianist Wilém Kurz became a popular choice for soloists. But it was the pianist Sviatoslav Richter who led the way in returning to the composer’s original score, and tonight’s soloist Martin Helmchen does the same. Speaking at the time of his 2009 recording of the work, Helmchen acknowledged its ‘unpianistic’ feel and fearsome difficulty, but cited its beauty and freshness, too. It’s not just the piano part of the Concerto that has been criticised. Some have taken issue with the actual musical argument, claiming it relies too heavily on ideas influenced by Beethoven and that its themes are simply repeated rather than ‘developed’ in the symphonic sense. That seems a rather academic point. Dvořák had spawned five symphonies by the time he came to write the Concerto in 1876 and the fluency of his orchestral writing and the seamlessness with which he journeys through the piece’s varying emotional hues are obvious. His response to themes might not be anatomical, but the sentiments are certainly natural and musical.

The Concerto is of mammoth Brahmsian proportions and unfolds over three movements. The opening Allegro agitato is muscular and full of energy, with a tussle ensuing between two themes of contrasting lyricism and urgency, the latter spiked with dashes of folk-like impudence. To end, the pianist plays a vigorous cadenza based on the movement’s first melodic idea. The central movement has been likened to a woodland pastoral. The mood is one of radiant peace, in which the composer introduces two themes: one from a meditative horn, the other traced by the pianist as if in mid-song. The delicate accompaniment is characterised by glowing woodwinds.

The finale is certainly the most Dvořák-like of the three, the mood being assuredly that of the composer’s famous Slavonic Dances. Dvořák uses a Czech folksong as his musical basis with a dotted-rhythm dance over which you can easily lay the words ‘I won’t go home, I won’t go home’ (in Czech, the words of the song Dvořák borrowed). As in the first movement, two other subsidiary themes emerge which are then called up to bring the movement to a close. As for the work’s quality, affability and standard of craftsmanship, over to you – Dvořák would have wanted his audience to decide.

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

Josef SUK

symphonic poem, ripening, op. 34 london philharmonic choir

1874–1935

I Adagio, quasi andante – II Tempo primo – III Quasi tempo primo ma più animato IV Adagio – V A tempo: Quasi allegro – VI Adagio quasi l’istesso tempo – VII Fuga – VIII Coda: Largamente

If Janáček’s musical language appeared to have come from nowhere, that of Josef Suk was rather more rooted in the Czech musical establishment. In the late 19th century Dvořák was the most celebrated Czech composer alive; in a musical sense, Josef Suk was created in his image.

Suk became Dvořák’s pupil at the Prague Conservatory in 1891, the younger composer’s blossoming compositional talents nurtured and influenced by the language of his teacher. Long, Dvořákian themes were strewn about much of Suk’s work, which in its individuality referenced both Impressionism and native folk music, albeit in a standard late-Romantic vein. It looked as though Suk was becoming Dvořák’s creative heir. And soon enough, Suk became his teacher’s legal heir, too: after a few years of socialising and an easy romance, Suk married Dvořák’s daughter Otilka in 1898. The family were close, so when a double tragedy hit Suk in 1904–5 it came to shape the composer’s life and his art. During a violin-playing tour of Spain in 1904, a telegram was placed in Suk’s hand that read

London Philharmonic Orchestra | 9

PROGRAMME NOTES

simply, ‘Dvořák dead – return immediately.’ Suk was inconsolable, and soon began writing a symphonic poem on the subject of death, Asrael. Then, even as he worked on the piece, Suk’s wife Otilka – Dvořák’s daughter – died too. Suk had lost the two most important people in his life and veered towards complete emotional breakdown. He finished Asrael, a symphony full of pain and anger and a new-found juxtaposition of extreme emotions akin to those of Mahler. But there followed three more symphonic poems – reflections on struggle, death and reconciliation. Zráni or ‘Ripening’, named after a poem by Antonín Sova, spoke of the former emotion – the struggle to defeat and resolve life’s tragedies. It contained, said Suk, ‘all the degrees of human emotion.’ Sova’s poem reflects on the ripening of grain in the heat of summer; man’s emotional harvest in which he can assess the journey of his existence. Suk responded with a characteristic rawness of emotion, communicated through a huge orchestra and a distant chorus of female voices. He worked on the piece for five years from 1912 to 1917. Václav Talich conducted its Prague première on 30 October 1918 (two days after the founding of the sovereign state of Czechoslovakia).

The tragedy of bereavement looms large in Ripening: Suk quotes his own previous ‘death motif’ from Asrael, characterised by a sinister ‘tritone’ interval. But in Ripening, Suk’s loss is seen in the context of a life that had been lived before and must continue to be lived. Karel Šrom’s annotations to the score talk of a man’s arrival at maturity and his glances back to youth and love (these broadly consisting of a ‘first section’ Allegro and Adagio); the love theme is then hijacked and manipulated in the frenzied musical paragraphs that represent a Scherzo. A gigantic fugue builds towards Ripening’s biggest climax, for Šrom an act of ‘self moderation’ that checks-in musically with the opening idea of ‘mature recognition’. An intimate violin solo follows, and then a gesture of renewal and hope that is so distinctly Suk’s, both personally and musically: a shimmering, transcendent coda in B major that defeats all the hardship of before. For all the narrative suspense, the constantly shifting thematic relationships and the occasionally unfathomable instrumental intricacies, it’s this brave and humbling discovery of peace that lies at the heart of Ripening – Suk’s belief that music could save him from life’s most catastrophic tragedies. Programme notes by Andrew Mellor © 2012

Free tickets for schools from Deutsche Bank As one of the flagship projects in its extensive Corporate Citizenship programme, Deutsche Bank has been supporting the London Philharmonic Orchestra’s BrightSparks schools’ concerts since 2001. Through the Deutsche Bank Free Tickets Scheme, its generous funding ensures that children and their teachers have the opportunity to experience a live performance by the Orchestra at no cost. Across the year, the series of seven concerts at Royal Festival Hall reaches approximately 15,000 children. This year the series has been extended to include concerts for GCSE music students for the first time, reaching out to even more young people. For a large proportion of pupils, these events are the first time they will have visited a concert hall to hear a live orchestra, giving them an intense and inspiring experience. In addition to its support of music education, Deutsche Bank’s Corporate Citizenship programme spans a range of themes aimed at addressing disadvantage, promoting social mobility and supporting emerging artists. Globally, hundreds of thousands of people each year participate in education programmes supported by Deutsche Bank. At this evening’s concert we are delighted to welcome young people from across London as part of the Deutsche Bank Free Tickets Scheme.

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London Philharmonic Orchestra Thames Diamond Jubilee Pageant – The Official CD London phiLharmonic orchestra

thames diamond JubiLee pageant – the officiaL cd –

Popular works by great British and Commonwealth composers written during the time of our Queen’s reign, performed by the London Philharmonic Orchestra as part of the Thames Diamond Jubilee Pageant, 3 June 2012. Including • • • • •

1952 – 2012

Nimrod from Enigma Variations James Bond Theme Jupiter from The Planets Fantasia on British Sea Songs Land of Hope and Glory

£9.95 (LPO CD–0063)

Available exclusively from John Lewis and Waitrose stores nationwide and online from 4 May–6 June 2012, and from all good CD retailers and the LPO Box Office (020 7840 4242) thereafter. £1 from the sale of each CD will go to the Thames Diamond Jubilee Foundation, supporting youth and education projects at home and in the Commonwealth.

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London Philharmonic Orchestra | 11

LONDON PHILHARMONIC ORCHESTRA

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most adventurous and forward-looking orchestras. As well as performing classical concerts, the Orchestra also records film and computer game soundtracks, has its own record label, and reaches thousands of people every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and since then has been headed by many of the great names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Russian Vladimir Jurowski, appointed in 2007, with French-Canadian Yannick Nézet-Séguin as Principal Guest Conductor. The Orchestra is based at Royal Festival Hall in London’s Southbank Centre, where it has performed since it opened in 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. Concert highlights in 2011/12 have included a three-week festival celebrating the music of Prokofiev, concerts with artists including Sir Mark Elder, Marin Alsop, Renée Fleming, Stephen Hough and Joshua Bell, and several premières of works by living composers including the Orchestra’s Composer in Residence, Julian Anderson. In addition to its London concerts, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency accompanying the famous Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra since 1964. The London Philharmonic Orchestra tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first-ever visit to China by a Western orchestra. Touring remains a big part of the Orchestra’s life: tours in the 2011/12 season have included visits to Belgium, Switzerland, Germany, the US, Spain, China, Russia, Oman, Brazil and France.

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You may well have heard the London Philharmonic Orchestra on film soundtrack recordings: it has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, Philadelphia, East is East and Hugo. The Orchestra also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 60 releases on the label, which are available on CD and to download. Recent additions include Dvořák’s Symphonic Variations and Symphony No. 8 conducted by Sir Charles Mackerras; Holst’s The Planets conducted by Vladimir Jurowski; Shostakovich Piano Concertos with Martin Helmchen under Vladimir Jurowski; and Sibelius’s Symphony No. 5 and Lutosławski’s Concerto for Orchestra under Jukka-Pekka Saraste. The Orchestra was also recently honoured with the commission to record all 205 of the world’s national anthems for the London 2012 Olympics Team Welcome Ceremonies and Medal Ceremonies. To help maintain its high standards and diverse workload, the Orchestra is committed to the welfare of its musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark. The London Philharmonic Orchestra maintains an energetic programme of activities for young people and local communities. Highlights include the ever-popular family and schools concerts, fusion ensemble The Band, the Leverhulme Young Composers project and the Foyle Future Firsts orchestral training scheme for outstanding young players. Over the last few years, developments in technology and social networks have enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel, news blog, iPhone app and regular podcasts, the Orchestra has a lively presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

Chamber Contrasts 2012 soloists of the london Philharmonic orchestra at Wigmore Hall Supported by Dunard Fund

Saturday 30 June, 7.30pm | Wigmore hall BRAhMS Piano Trio Nossss. 3 in C minor, Op. 101 SChUBERT Piano Quintet in A major, D667 (Trout) ShOSTAKOVICh Piano Quintet in G minor, Op. 57 pieter Schoeman violin | Vesselin Gellev violin Alexander Zemtsov viola | Kristina Blaumane cello Kevin Rundell double bass | Rustem hayroudinoff piano Acclaimed pianist Rustem Hayroudinoff joins principal string players of the London Philharmonic Orchestra in three classics of the chamber music repertoire. Brahms’s C minor Trio is dramatic and sonorous, anticipating the Double Concerto of the following year. Schubert’s ‘Trout’ Quintet – so-called because it includes a set of variations on the composer’s well-known song of that name – is a work of holiday relaxation, full of the joy of music-making in friendly company. Shostakovich’s 1940 Piano Quintet is one of his chamber music masterpieces, moving from the intensity of its opening Prelude and Fugue, by way of a brittle Scherzo and a cool Intermezzo with a passionate climax, to a more relaxed Finale.

Tickets £12, £16, £22, £26 London philharmonic Orchestra Box Office 020 7840 4242 | lpo.org.uk Wigmore hall Box Office 020 7935 2141 | wigmore-hall.org.uk (£2 administration fee for telephone bookings; £1 administration fee for online bookings)

London Philharmonic Orchestra | 13

New recordings

on the London Philharmonic Orchestra label

ravi shankar: symphony LPO–0060 | £6.99 Legendary composer and sitarist Ravi Shankar is one of India’s most highly esteemed musical ambassadors, renowned for his pioneering work in bringing Indian music to the West. 2010 saw the première of his ambitious fusion work, his first symphony conceived for a Western symphony orchestra. In this live recording of the première, David Murphy conducts the London Philharmonic Orchestra with Ravi Shankar’s daughter Anoushka on sitar.

christoph eschenbach conducts beethoven’s missa solemnis LPO–0061 | £9.99 Beethoven had little liking for organised religion, but he was deeply spiritual, believing in God as an all-powerful, loving Father. The awesome, sublime Missa Solemnis is one of his supreme achievements, which he headed ‘From the heart – may it in turn go to the heart!’ In this live concert recording, the fervour of Beethoven’s vision is powerfully realised by conductor Christoph Eschenbach with the London Philharmonic Orchestra and Choir.

Coming soon ... thames diamond jubilee pageant: the official CD

NEEMe JäRVI CONDUCTS DVOŘÁK’s STABAT MATER

May 2012

LPO–0063 £9.95

LPO–0062 £9.99

See page 11. Available exclusively from John Lewis and Waitrose stores and online from 4 May–6 June, and from all good CD retailers and the LPO Box Office thereafter.

Browse and order online at lpo.org.uk/shop, or call the Box Office on 020 7840 4242

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Deutsche Bank db.com

Passion for Music Deutsche Bank is committed to providing young people with access to the arts. Our free tickets scheme allows over 15,000 young people each year to attend a tailored performance by the London Philharmonic Orchestra, building musical understanding and appreciation.

This advertisement has been approved and/or communicated by Deutsche Bank AG. This advertisement does not constitute an offer or a recommendation to enter into any transaction. The services described in this advertisement are provided by Deutsche Bank AG or by its subsidiaries and/or affiliates in accordance with appropriate local legislation and regulation. Deutsche Bank AG is authorized under German Banking Law (competent authority: BaFin â€“ Federal Financial Supervisory Authority) and authorized and subject to limited regulation by the Financial Services Authority. Details about the extent of Deutsche Bank AGâ€™s authorization and regulation by the Financial Services Authority are available on request. Investments are subject to investment risk, including market fluctuations, regulatory change, counterparty risk, possible delays in repayment and loss of income and principal invested. The value of investments can fall as well as rise and you might not get back the amount originally invested at any point in time. ÂŠ Copyright Deutsche Bank 2012.

next concertS at royal festival hall

Sunday 13 May 2012 | 12.00pm Royal Festival Hall

Booking details

FUNharmonics Family Concert The Cunning Little Vixen

London Philharmonic Orchestra Box Office 020 7840 4242 Monday to Friday 10.00am–5.00pm lpo.org.uk (no transaction fee)

Vladimir Jurowski conductor Hannah Conway presenter Meet Sharp-Ears, the cunning little vixen at the centre of our story, and frolic in the Czech forest along with Frog, Dragonfly, Mosquito, Cricket and the London Philharmonic Orchestra! With the help of Hannah Conway, we’ll take a closer look at how different sections of the orchestra are used to tell the story of Janáček’s The Cunning Little Vixen. You’ll hear Sharp-Ears and her cubs having a great time chasing chickens, and there’s more poultry in our performance as we play Mussorgsky’s ‘Ballet of the Unhatched Chicks’ from his popular work Pictures at an Exhibition. Tickets £5–£18

Sunday 29 July 2012 | 7.30pm Royal Festival Hall Beijing Symphony Orchestra and London Philharmonic Orchestra: Gala Concert Guo Wenjing Overture (for the London 2012 Olympics) Tang Jianping Sacred Fire 2008: Concerto for Percussion and Orchestra Beethoven Symphony No. 9 (Choral) London Philharmonic Orchestra and Choir Beijing Symphony Orchestra Tan Lihua conductor Li Biao percussion Rebecca Evans soprano Ning Liang mezzo soprano Andrew Kennedy tenor Matthew Rose bass Tickets £9–£39 (available through Southbank Centre box office only: details opposite)

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Southbank Centre Box Office (transaction fees apply) 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk

2012/13 season now on sale! Browse the full season at www. lpo.org.uk/ newseason or call 020 7840 4208 for a brochure. Highlights include appearances by Marin Alsop, Sir Mark Elder, Christoph Eschenbach, Christian Tetzlaff, Lawrence Power, Kurt Masur, Osmo Vänskä, Lars Vogt and Sarah Connolly. There are also opportunities to hear new talent including cellist Sol Gabetta, conductor Ryan Wigglesworth, pianist Javier Perianes and violinist Patricia Kopatchinskaja. Subscription discounts are available when booking three or more concerts.

Glyndebourne 2012 Book now for the 2012 Glyndebourne Festival, which opens on 20 May. The London Philharmonic Orchestra has been Resident Symphony Orchestra at Glyndebourne since 1964. This summer, the Orchestra will give performances of Janáček’s The Cunning Little Vixen under Vladimir Jurowski, Rossini’s La Cenerentola under James Gaffigan, Puccini’s La bohème under Kirill Karabits, and a double-bill of Ravel’s L’heure espagnole and L’enfant et les sortilèges under Kazushi Ono. Tickets start from £10 and you can book by telephone (01273 813813), or read full details and book online: glyndebourne.com

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 Anonymous The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Mrs Sonja Drexler Guy & Utti Whittaker Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mr Charles Dumas David Ellen

Commander Vincent Evans Mr & Mrs Jeffrey Herrmann Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Dennis Mr David Edgecombe Mr Richard Fernyhough Ken Follett

Pauline & Peter Halliday Michael & Christine Henry Mr 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 John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Mr Peter Tausig Mrs Kazue Turner Mr D Whitelock 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 Bronze: Appleyard & Trew LLP Berkeley Law Charles Russell Lazard Leventis Overseas Corporate Donor Lombard Street Research In-kind Sponsors Google Inc Heineken Lindt & Sprüngli Ltd Sela / Tilley’s Sweets Villa Maria Trusts and Foundations Addleshaw Goddard Charitable Trust Arts and Business Allianz Cultural Foundation

Angus Allnatt Charitable Foundation The Boltini Trust Britten-Pears Foundation The Candide Charitable Trust The Coutts Charitable Trust The Delius Trust Diaphonique, Franco-British fund for contemporary music Dunard Fund The Equitable Charitable Trust The Eranda Foundation The Fenton Arts Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust Hattori Foundation for Music and the Arts Capital Radio’s Help a London Child The Hobson Charity The Kirby Laing Foundation The Idlewild Trust The Leverhulme Trust Lord and Lady Lurgan Trust Maurice Marks Charitable Trust Marsh Christian Trust The Mercers’ Company

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 Austin & Hope Pilkington Trust The Serge Prokofiev Foundation Serge Rachmaninoff Foundation The Reed Foundation The Rothschild Foundation The Seary Charitable Trust The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Steel Charitable Trust The Stansfield Trust The Bernard Sunley Charitable Foundation The Swan Trust John Thaw Foundation The Thistle Trust The Underwood Trust Kurt Weill Foundation for Music Garfield Weston Foundation Youth Music and others who wish to remain anonymous London Philharmonic Orchestra | 17

orchestra news

The Floating Orchestra

Foyle Future Firsts – apply now!

The London Philharmonic Orchestra will form one of the ten music herald barges in the Thames Diamond Jubilee Pageant on 3 June 2012. The Orchestra, conducted by David Parry, will perform a Last Night of the Proms-style selection of British music, which has also been recorded for a CD to be released on the LPO Label this month (see page 11).

Are you a young instrumentalist who has completed an undergraduate or postgraduate performance degree? Would you like to gain invaluable professional experience with a world-class orchestra? The London Philharmonic Orchestra’s Foyle Future Firsts programme helps bridge the transition period between college and the professional platform for up to 16 outstanding young musicians each year. It is designed to nurture and develop talented players, and to form the base for possible future appointments to the London Philharmonic Orchestra and other world-class orchestras and ensembles.

In late February we held a trial run event aboard ‘The Symphony’ with an orchestra formed of the LPO’s Foyle Future Firsts, young professionals and students from Trinity Laban Conservatoire of Music and Dance, conducted by Ben Gernon. Watch a video of the test event at http://youtu.be/nomdgEdVFs8

We are currently accepting applications for next year’s programme (Sep 2012–Aug 2013) from players of the following: violin, viola, cello, double bass, flute, oboe, clarinet, bassoon, horn, trumpet, trombone or bass trombone, tuba, percussion, harp and piano. The closing date for applications is 13 May 2012 and auditions will be held in June/July. Read more and apply online: www.lpo.org.uk/futurefirsts

BBC Proms: Saturday 18 August 2012

LPO 2012/13 season opens 26 September

The London Philharmonic Orchestra will appear at the BBC Proms at the Royal Albert Hall on Saturday 18 August. Under Vladimir Jurowski it will perform Weber’s overture to Der Freischütz, the composer’s take on the folk legend of a marksman’s contract with the devil; Mahler’s folk-influenced song-cycle Lieder eines fahrenden Gesellen (‘Songs of a Wayfarer’) with soprano soloist Alice Coote; and Tchaikovsky’s dramatic Manfred Symphony.

Vladimir Jurowski opens the London Philharmonic Orchestra’s 2012/13 season at Southbank Centre’s Royal Festival Hall on Wednesday 26 September, with a programme of music by Richard Strauss and Zemlinsky. The concert opens with excerpts from Strauss’s thrilling opera Die Frau ohne Schatten (‘The Woman Without a Shadow’), considered by many to be his finest work in the genre, and also includes Zemlinsky’s dramatic and sinister one-act opera A Florentine Tragedy, based on Oscar Wilde’s dark and death-ridden play.

Booking is now open, and tickets are available directly from the BBC Proms Box Office. Seat prices range from £7.50–£36, 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

Booking for the new season is now open: browse the concerts at lpo.org.uk/newseason and either book online or call our Box Office on 020 7840 4242. If you would prefer to receive a season brochure in the post, please call us to request one. As always, there are subscription discounts available when you book three or more concerts. www.lpo.org.uk/newseason

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London Philharmonic Orchestra

Annual Appeal 2011/12 in aid of the Community Programme Despite living close to Royal Festival Hall, many people in South London have never visited the venue or heard an orchestra perform. We are committed to our work in the community to ensure that as many people as possible can access and enjoy music of the highest quality. There are three dynamic projects within the Community Programme, providing inspirational musical opportunities for children and their families. Animate Orchestra is a young person’s ‘orchestra for the 21st century’, offering young people in Lewisham and Greenwich a creative pathway for them to continue their playing as they make the transition from primary to secondary education – a time when many young musicians give up. Young people make music side by side with London Philharmonic Orchestra musicians. The Band is the Orchestra’s fusion ensemble for young people in South London, at which they improvise, create, and rehearse their own music – from classical to jazz, hip hop, rock, and more. Members have inspirational contact with London Philharmonic Orchestra players, in sessions led by some of the UK’s leading tutors. FUNharmonics are our Family Concerts – an interactive introduction for all the family to music and the orchestra, presented by Chris Jarvis of CBeebies. Free foyer activities before and after the concert include Have-a-Go sessions where children can try out a range of orchestral instruments with our musicians; and the Human Orchestra – fun rhythmic sessions where music is performed using body percussion, singing, drumming, and clapping. Your Support In order to undertake this essential work we depend entirely on donations from charitable sources each year, and we are asking you to help us to support this work in the communities surrounding the South Bank. If you do feel able to contribute to this year’s Appeal we would be extremely grateful. Gifts of any size make a real difference; to donate please contact Elisenda Ayats on 020 7840 4225 or elisenda.ayats@lpo.org.uk. For more information, and to donate online, please visit lpo.org.uk/support_us/appeal And now, for the first time, you can also donate up to £10 to the Orchestra by text message. To donate, text PHIL12 and the amount you wish to donate (£1, £2, £3, £4, £5, or £10) to 70070. e.g. to donate £10 text PHIL12 £10 to 70070 For more information, please visit lpo.org.uk/text

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Administration

Board of Directors

General Administration

Orchestra Personnel