Programme notes 3 October 2010 by London Philharmonic Orchestra

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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†

CONGRESS THEATRE, EASTBOURNE Sunday 3 October 2010 | 3.00pm

PROGRAMME £2.50 CONTENTS 2 3 4

List of Players Michał Dworzyński Pieter Schoeman / Kristina Blaumane 5 Programme Notes 9 Congress Theatre 10 Orchestra History 11 Supporters 12 Administration

MICHAŁ DWORZYŃSKI conductor PIETER SCHOEMAN violin KRISTINA BLAUMANE cello

BORODIN Overture, Prince Igor

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

(10’)

BRAHMS Concerto in A minor for violin, cello and orchestra

(31’)

INTERVAL DVOŘÁK Symphony No. 9 in E minor (From the New World)

†

(40’)

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL.

supported by Macquarie Group

Ticket Office 01323 412000 www.eastbournetheatres.co.uk

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LONDON PHILHARMONIC ORCHESTRA

Chair supported by Mrs Steven Ward

Midori Sugiyama Katalin Varnagy Catherine Craig Martin Höhmann Chair supported by Richard Karl Goeltz

CELLOS Jonathan Ayling Principal Chair supported by Caroline, Jamie and Zander Sharp

Sue Sutherley Susanna Riddell Tom Roff Tae Mi Song Philip Taylor William Routledge

Geoffrey Lynn Yang Zhang Peter Nall Galina Tanney Toby Tramaseur Joanne Chen

DOUBLE BASSES Laurence Lovelle Principal George Peniston Charlotte Kerbegian John Bakewell Dan Storer

SECOND VIOLINS Jeongmin Kim Principal Joseph Maher Kate Birchall

FLUTES Kenneth Smith Guest Principal Joanna Marsh

Chair supported by David and Victoria Graham Fuller

Nancy Elan Fiona Higham Marie-Anne Mairesse Ashley Stevens Andrew Thurgood Heather Badke Alison Strange VIOLAS Alexander Zemtsov* Principal Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter-Bootiman Claudio Cavalletti Anthony Byrne

PICCOLO Katie Bicknell OBOES Steve Hudson Guest Principal Angela Tennick

HORNS John Ryan Principal Estefania Beceiro Guest Principal Anthony Chidell Mark Vines Max Garrard TRUMPETS Paul Beniston* Principal Nicholas Betts Co-Principal TROMBONES Robert Workman Guest Principal Andrew Connington BASS TROMBONE Lyndon Meredith Principal TUBA Lee Tsarmaklis Principal TIMPANI Antoine Bedewi Guest Principal PERCUSSION Andrew Barclay* Principal

COR ANGLAIS Sue Bohling Principal

Chair supported by Andrew Davenport

Chair supported by Julian and Gill Simmonds

CLARINETS Katie Lockhart Guest Principal Emily Meredith BASSOONS Gareth Newman* Principal Emma Harding

Chair supported by John and Angela Kessler

* Holds a professorial appointment in London +

Chevalier of the Brazilian Order of Rio Branco

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Geoff and Meg Mann Richard and Victoria Sharp

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Fran Collin

FIRST VIOLINS Vesselin Gellev Leader Julia Rumley

Vesselin Gellev (Leader) was born in Bulgaria and, since his concerto debut at the age of nine, has been a featured soloist with the Spoleto Festival Orchestra, New Haven Symphony Orchestra, Juilliard Orchestra and London Philharmonic Orchestra, among others. As violinist of Antares, a pianoclarinet quartet, he won First Prize at the 2002 Concert Artists Guild competition in New York City. Mr. Gellev is Concertmaster of Kristjan Järvi’s Absolute Ensemble, a Grammy-nominated, genre-blending ‘classical band’. He has also been Leader of the New Haven Symphony Orchestra, the Spoleto Festival Orchestra in Italy, and Guest Leader of the BBC National Orchestra of Wales and the Royal Scottish National Orchestra in Glasgow. He joined the London Philharmonic Orchestra as Sub-Leader in 2007.

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MICHAŁ DWORZYŃSKI CONDUCTOR

Polish conductor Michał Dworzyński is emerging as one of Europe’s most exciting conducting talents. In February 2010 he conducted the UK première of Maciejewski’s extraordinary Requiem Mass in Westminster Cathedral, with the massed forces of the BBC Symphony Orchestra, BBC Symphony Chorus and BBC Singers and a starry Polish cast. He has taken the music of Lutosławski to major UK festivals such as Cheltenham with the BBC Philharmonic, Belfast with the Ulster Orchestra and St Magnus with the BBC Scottish Symphony Orchestra. He also made his debuts with the Israel Philharmonic in 2009 and with the Netherlands Radio Philharmonic in 2010 in the major closing events of their seasons with Gorecki’s Symphony No. 3.

In the coming months Dworzyński will conduct the Orchestre National de Belgique for the first time, having already appeared with the Royal Flemish Philharmonic and the Brussels Philharmonic. He returns to Iceland, and makes his debuts in Copenhagen and at the Opéra de Lyon conducting Prokofiev. Other European engagements have taken him to Swedish Radio, Stockholm Opera, Vienna Chamber Orchestra and Madrid RTVE. In March 2010 he had great success in Japan, appearing in successive weeks with both the Tokyo Symphony and Tokyo Philharmonic Orchestras, and making his Suntory Hall debut two months later. He makes his first visit to Australia and New Zealand in June 2011. Michał Dworzyński studied in Warsaw with Antoni Wit and in Berlin with Christian Ehwald and was appointed Assistant Conductor of the National Polish Radio Symphony Orchestra in Katowice at the age of 21. From 2008-10 he was Principal Conductor of the Beethoven Academy in Cracow, conducting them at the Warsaw Easter Festival and in the Warsaw Philharmonic series, and programming Beethoven and Brahms cycles.

Dworzyński maintains a regular presence in Warsaw with the Philharmonic Orchestra with whom he will tour Japan in 2012, and has conducted all the major Polish orchestras as well as the Warsaw National Opera. He has made several CD recordings for Polish Television and Radio and has received numerous honours and awards in recognition of his committed advocacy of Polish music. Since winning the Donatella Flick Conducting Competition in 2006, Michał Dworzyński has conducted the London Symphony Orchestra several times a season and has also established regular relationships with the BBC Scottish Symphony Orchestra (with whom he has recorded his first disc for Hyperion Records), BBC Symphony Orchestra and London Philharmonic Orchestra, all of whom he will return to conduct in 2010/11.

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PIETER SCHOEMAN

KRISTINA BLAUMANE

VIOLIN

CELLO

Born in South Africa, Pieter Schoeman made his solo debut with the Cape Town Symphony Orchestra at the age of ten. He studied with Jack de Wet in South Africa, winning numerous competitions, including the 1984 World Youth Concerto Competition in America. 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.

Kristina was born in Riga into a family of musicians. After graduating from the Latvian Academy of Music where she studied with Eleonora Testeleca, Kristina moved to England and studied with Stefan Popov at the Guildhall School of Music and Drama. She has won many competitions and, in 2005 and 2007, became a laureate of the Great Music Award, the highest prize given by the Latvian State in the field of music.

Pieter Schoeman has performed as a soloist and recitalist throughout the world and, as a chamber musician, he regularly performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, he has performed Arvo Pärt’s Double Concerto and Benjamin Britten’s Double Concerto, which was recorded and released on the Orchestra’s own record label to great critical acclaim. In 1995 Pieter Schoeman 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, and the BBC Symphony Orchestra. In 2002, he joined the London Philharmonic Orchestra as Co-Leader and was appointed Leader in 2008. This season he has also been invited to lead the Rotterdam Philharmonic. His numerous violin solos with the London Philharmonic Orchestra have been recorded by Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television. He led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy. He teaches at Trinity College of Music, London.

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She now enjoys a busy career giving recitals and performing with orchestras such as the London Philharmonic Orchestra, Amsterdam Sinfonietta, Chicago Civic Orchestra, Kremerata Baltica, Britten Sinfonia, Latvian National Symphony Orchestra and Netherlands Wind Ensemble. She has also been a guest at major international festivals such as Lockenhaus, Gstaad, Salzburg, Verbier, Basel, Jerusalem, Utrecht, Spitalfields, Cheltenham and Aldeburgh, and has performed chamber music with artists such as Isaac Stern, Gidon Kremer, Yo Yo Ma, Yuri Bashmet, Leif Ove Andsnes, Janine Jansen, Julian Rachlin, Bruno Giuranna, Misha Maisky, Nikolaj Znaider, Tatyana Grindenko, Oleg Maisenberg and others. Kristina has recorded for Onyx, Quartz, Connifer Classics as well as BBC, Dutch, Israeli, Russian and Latvian Radio and Television. Last season she released her debut recital CD, comprising sonatas by Barber and Grieg as well as Martinů’s Variations on a Slovakian Theme, with Russian pianist Jacob Katsnelson. At the age of 22 Kristina was appointed Principal Cellist of the Amsterdam Sinfonietta. She also regularly appears as a guest principal with Kremerata Baltica. In November 2007 she was appointed Principal Cello of the London Philharmonic Orchestra. Her chair is generously supported by Simon Yates and Kevin Roon, members of the Orchestra's Thomas Beecham Group.

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PROGRAMME NOTES

SPEEDREAD Alexander Borodin, a distinguished chemist as well as a fine composer, was fatally overworked, and he left his opera Prince Igor unfinished when he died at 53. The opera’s hero is a 12th-century warrior who defended his land against invading Tartars. Borodin had put together at the piano an overture using themes from the opera but had not written it down, so his friend Alexander Glazunov, who had heard the composer play it, produced the impressive approximation that opens this afternoon’s concert. The year of Borodin’s death saw the birth of Brahms’s last orchestral work, a double concerto for the challenging combination of violin and cello. A slow movement based

Alexander BORODIN

on a melody in Brahms’s warmest romantic vein follows a resourcefully developed first movement. The finale is a merry sonata-rondo. Brahms’s Czech friend, Dvořák, composed his enduringly popular last symphony while he was teaching in New York. He took a keen interest in American folk music and plantation songs, and – without directly using them – tried, he said, to compose in the spirit of those melodies. The symphony is, however, essentially a hymn to the homesick composer’s beloved Bohemia. Its best-loved feature is the hauntingly sad cor anglais melody in the second of the four movements. © Eric Mason

OVERTURE, PRINCE IGOR

1833-1887

It may seem odd to call so masterly a composer as Borodin an amateur, but by profession he was a distinguished research chemist. He could be only a parttime composer, and the wonder is that in a comparatively short life he accomplished as much as he did in music. In 1869 the influential art critic Vladimir Stassov offered Borodin the idea of an opera about Prince Igor of Seversk, the 12th-century Russian warrior who defended his homeland against the Polovtsi, an invading tribe of Tartars. With its epic nationalism and elements of passion, drama and the oriental, Stassov felt that the story ‘met all the demands of Borodin’s talent and artistic nature’. The composer accepted Stassov’s sketched scenario and started work, writing his own libretto piecemeal as he composed the music. But the long opera was still unfinished when he died 18 years later. His friends Rimsky-Korsakov and Alexander

Glazunov completed and orchestrated it, and the opera was produced at the Maryinsky Theatre, St Petersburg, in November 1890. One of Borodin’s last concerns was the overture, which he composed from themes in the opera and played on the piano for his friends. However, he failed to write it down, and the overture we hear was composed by Glazunov on the basis of that remembered piano performance. The themes themselves Glazunov was able to copy from the opera score. He also found some features of their treatment among sketches left by Borodin. But he had to compose the closing scale passage himself and, of course, to orchestrate the overture. The result was, as he put it, ‘nearly according to Borodin’s plan’. The overture is a D major Allegro in sonata form with a sombre Andante introduction in the minor. Polovtsian

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PROGRAMME NOTES

fanfares launch the Allegro and lead to the joyful theme of the Act Four reunion duet of Igor and his wife. The solo clarinet theme that follows comes from a trio in the third act. The second-subject group consists of two themes from the aria that Igor sings as a prisoner of the Polovtsi: first his determination to redeem his honour,

Johannes BRAHMS

then on solo horn the theme of his love for his wife left at home. All this material is developed in fresh scoring, culminating in a combination of the love and trio themes, the return of the fanfares and an animated coda. © Eric Mason

CONCERTO IN A MINOR FOR VIOLIN, CELLO AND ORCHESTRA, OP. 102 PIETER SCHOEMAN violin KRISTINA BLAUMANE cello

1833-1897

Allegro | Andante | Vivace non troppo

Mountain scenery usually stimulated Brahms’s creative powers, and the long summer he spent in Thun, Switzerland, in 1887 saw the birth of this Double Concerto and several chamber works. One of the chamber works was the Piano Trio in C minor, and it may have been that writing for violin, cello and piano turned the composer’s mind towards combining violin and cello with orchestra. Having conceived the idea, he could not resist the technical challenge but was not sure the concerto would work.

friend, suggested some alterations, but typically Brahms preferred to make his own revisions.

Meanwhile Brahms had sent the concerto to his erstwhile friend Joseph Joachim for a frank appraisal. For some years there had been a rift between Brahms and the great violinist, caused by the former’s wellmeaning intervention in Joachim’s marital troubles. Joachim had not wavered in his support of Brahms’s music, and the composer hoped that he and Robert Hausmann, the cellist in the famous Joachim Quartet, would perform the concerto. The two players welcomed the new work and agreed to give the first performance, which took place in Cologne on 18 October 1887 with Brahms conducting. The first rehearsals had been held in Clara Schumann’s house in Baden-Baden in September, and she confided to her diary: ‘The work is fresh, full of interesting themes and development’. Joachim, now reconciled with his old

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This is Brahms’s fourth and last concerto, in fact his last orchestral work. Notwithstanding his doubts, his technique was perfectly capable of meeting the special demands of a double concerto, and he was not tied to conventional classical form. Although the first movement begins with the opening of a normal orchestral exposition, the assertive theme lasts only four bars before being interrupted by the solo cello, which picks up the last three notes and considers the theme ‘in the manner of a recitative but always in strict time’. The woodwind tries to introduce a gentle second subject, only to be similarly interrupted by the solo violin, after which the two soloists join in an unaccompanied duologue. Only then does the orchestra launch the exposition proper, moving from first subject to second by way of a syncopated theme that will figure prominently later. The second subject has a similar rhythmic shape to the opening of a Viotti violin concerto that was a favourite of both Joachim and Brahms; the latter probably intended the allusion as a reminder of their old friendship. The soloists re-enter – the cello leading as it does through most of the concerto – and discuss both themes, linking them with a new triplet theme. The

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PROGRAMME NOTES

short development gives the soloists ample scope for display, allowing trills, arpeggios and much doublestopping without the texture becoming turgid. The second subject is lovingly treated in the recapitulation, and the syncopated and triplet themes are turned to good use in the coda. So far all the themes have been built from short phrases. In contrast the slow movement’s main theme is a long melody in Brahms’s warmest romantic vein, introduced in octaves by the soloists and complemented by the same tune in its inverted form. The key changes abruptly from D to F for a woodwind theme in thirds and sixths, later embroidered by the soloists. The main theme returns in varied form, and the movement ends with references to the central section.

The finale is a merry sonata-rondo with an A minor rondo theme of Hungarian dance character introduced by the cello and repeated by the violin before the orchestra takes it up. The cello is also entrusted with the first airing of the second subject, a C major tune in double-stopping. When the cello tries to resume the first subject, the solo violin and woodwind intervene and this leads to a vigorous new tune for the orchestra framing a gentle episode for woodwind with arpeggios from the soloists. The dancing rondo theme reappears and is followed by the second subject, decisively played in A major. This is the key of the coda, which rounds off the grand design with a combination of brilliance, delicacy and a final dash of Hungarian spice. © Eric Mason

INTERVAL 20 minutes A bell will be rung 3, 2 and 1 minute before the end of the interval.

Antonín DVOŘÁK

SYMPHONY NO. 9 IN E MINOR, OP. 95 (FROM THE NEW WORLD) Adagio – Allegro molto | Largo | Scherzo: Molto vivace | Allegro con fuoco

1841-1904

The offer of more than twenty-five times his salary as a professor in Prague induced Dvořák to move to the New World in 1892 to become Director of the National Conservatory of Music in New York. Already acclaimed in Europe, he quickly achieved similar success in America. He made good friends, particularly among a Czech colony in Iowa, but homesickness made him unhappy, and in 1895 he returned to the native Bohemia he loved. During his stay in America he composed some of his most successful works, among them this symphony, his last, ‘From the New World’. He began work on it on 10 January 1893 and completed it on 24 May. The first performance was given in Carnegie Hall on 16 December and was a huge success.

Dvořák listened with great interest to the music of African Americans and American Indians, but he scotched the notion that he directly used it in the New World Symphony. ‘I tried to write only in the spirit of those national American melodies’, he said. At least one theme seems to have been derived from a well-known spiritual, although not necessarily consciously. We conclude that this is ‘genuine Bohemian music’, as its composer claimed, but coloured by the impressions he received in the New World. The slow introduction is soon disturbed by a rousing summons. Violas, cellos and two horns outline the first part of the main theme of the Allegro molto, which

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PROGRAMME NOTES

opens with unison horns proclaiming that strain and clarinets and bassoons replying with a second strain in thirds. Both parts of the theme are vigorously restated, leading to a G minor tune for flute and oboe suggestive of a Czech country dance. This, too, is elaborated until the arrival of the second subject proper, a flute tune that bears a family resemblance to Swing low, sweet chariot. The first half of this tune launches the development. The country dance theme is held back until the recapitulation, where it reappears as a flute solo. At the movement’s climax the trumpets hurl the ‘spiritual’ tune against the main theme on trombones. Solemn chords open the Largo, moving from E major to remote D flat for the cor anglais melody that is this symphony’s best-loved feature. The sad tune is original Dvořák, although one of his American pupils tried to make it into a Spiritual by supplying words. It seems to express all the composer’s homesickness. A slightly faster flute and oboe theme and a clarinet theme over plucked basses emphasise the mood of the lament. This episode includes material originally sketched for a possible Hiawatha opera. Cheerfulness breaks in with a bucolic tune, but a loud interruption by the first movement’s principal theme takes us back to the cor anglais solo, pairs of strings taking over the second part

of the melody, and the movement ends with a return to the initial chords. The scherzo also employs ideas from the Hiawatha sketches. Flute and oboe announce the lively main theme with its rhythmic interplay of twos and threes, and the same instruments introduce the more flowing second theme. The trio section is a rustic dance with charming exchanges of trills between strings and woodwind. The scherzo repeat moves straight into a coda that reintroduces on horns and trumpets the first movement’s first and second subjects. Horns and trumpets blaze forth the finale’s principal subject, which gives way eventually to a dancing triplet theme for violins, a more romantic one for solo clarinet and a sequel for first violins and flute that somehow gets involved with Three Blind Mice. Variants of themes from earlier movements are woven into the treatment of this material, culminating in the reappearance of the slow movement’s opening chords. In the coda the composer reminds us of the first themes of the preceding movements, and for a grand peroration brings the opening themes of the first and last movements together on the brass in the major key. © Eric Mason

RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL LPO-0043 Vladimir Jurowski conducts Brahms’s Symphonies Nos 1 and 2 ‘This pair of budget-priced CDs on the LPO’s own label demonstrate how, in the right hands, the first two symphonies can thrill and delight…exquisite wind playing…genuinely exciting’ GRAHAM RICKSON, THE ARTS DESK, 22 FEBRUARY 2010

LPO-0042 Neeme Järvi conducts Dvořák’s Requiem ‘Neeme Järvi leads a sturdy, evocative performance graced by gorgeous singing from the London Philharmonic Choir.’ JOSHUA KOSMAN, SAN FRANCISCO CHRONICLE, 7 MARCH 2010

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. CDs may also be purchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 020 7840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

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CONGRESS THEATRE, EASTBOURNE ARTISTIC DIRECTOR CHRIS JORDAN GENERAL MANAGER GAVIN DAVIS

WELCOME TO THE CONGRESS THEATRE Welcome to this afternoon’s performance by the London Philharmonic Orchestra. We hope you enjoy the concert and your visit here. As a courtesy to others, please ensure all pagers, mobile phones or watches with alarms are switched off during the performance. Thank you. We are delighted and proud to have the London Philharmonic Orchestra reside at the Congress Theatre for the fourteenth year. Thank you, our audience, for continuing to support the concert series. Without you, these concerts would not be possible. We welcome comments from our customers. Should you wish to contribute, please speak to the house manager on duty or write to Suzanne Hopp, Marketing Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

FUTURE CONCERTS Stefan Ciric and Vladimir Jurowski

Jennifer Pike and Perry So

Sunday 16 January 2011 | 3.00pm

Sunday 17 April 2011 | 3.00pm

Berlioz Overture, King Lear Rachmaninov Piano Concerto No. 3 Brahms Symphony No. 3

Schubert Overture, Rosamunde Brahms Violin Concerto Tchaikovsky Symphony No. 6 (Pathétique)

Simon Streatfeild conductor Stefan Ciric piano

Wilson Hermanto conductor Jennifer Pike violin

Sunday 13 February 2011 | 3.00pm

Sunday 5 June 2011 | 3.00pm

Weber Overture, Der Freischütz Tchaikovsky Piano Concerto No. 1 Brahms Symphony No. 1

Wagner Overture, The Mastersingers Tchaikovsky Violin Concerto Weber Overture, Oberon Schumann Symphony No. 3

Nicholas Milton conductor Haochen Zhang piano

Perry So conductor Valeriy Sokolov violin

Sunday 6 March 2011 | 3.00pm Haydn Symphony No. 63 (La Roxelane) Mendelssohn Piano Concerto No. 1 Tchaikovsky Symphony No. 2 (Little Russian) Vladimir Jurowski conductor Alon Goldstein piano

TO BOOK Call the Box Office on 01323 412000 Credit Card Hotline 01323 411555 On-line booking www.eastbournetheatres.co.uk Tickets £12 | £19 | £22 | £24 Premium Seats £28

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LONDON PHILHARMONIC ORCHESTRA

Seventy-eight years after Sir Thomas Beecham founded the London Philharmonic Orchestra, it is recognised today as one of the finest orchestras on the international stage. Following Beecham’s influential founding tenure the Orchestra’s Principal Conductorship has been passed from one illustrious musician to another, amongst them Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. This impressive tradition continued in September 2007 when Vladimir Jurowski became the Orchestra’s Principal Conductor, and in a further exciting move, the Orchestra appointed Yannick Nézet-Séguin, its new Principal Guest Conductor from September 2008. The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It plays there around 40 times each season with many of the world’s most sought after conductors and soloists. Concert highlights in 2010/11 include an exploration of Mahler’s symphonies and complete song cycles during the composer’s anniversary season; the première performances of works by Matteo D’Amico, Magnus Lindberg and Brett Dean; a rare opportunity to hear Rossini’s opera Aureliano in Palmira in collaboration with long term partner Opera Rara; and works by the Orchestra’s new Composer in Residence, Julian Anderson.

Philharmonic Orchestra broadcasts regularly on domestic and international television and radio. It also works with the Hollywood and UK film industries, recording soundtracks for blockbuster motion pictures including the Oscar-winning score for The Lord of the Rings trilogy and scores for Lawrence of Arabia, The Mission, Philadelphia and East is East. The London Philharmonic Orchestra made its first recordings on 10 October 1932, just three days after its first public performance. It has recorded and broadcast regularly ever since, and in 2005 established its own record label. The recordings on its own label are taken mainly from live concerts given with distinguished conductors over the years including the Orchestra’s Principal Conductors from Beecham and Boult, through Haitink, Solti and Tennstedt, to Masur and Jurowski. Recent additions to the catalogue have included acclaimed releases of Elgar’s Symphony No. 1 and Sea Pictures with Vernon Handley and Janet Baker; Mahler’s Symphony No. 2 conducted by Klaus Tennstedt; Brahms’s Symphonies Nos 1 and 2 conducted by Vladimir Jurowski; and Dvořák’s Requiem under the baton of Neeme Järvi. The Orchestra’s own-label CDs are also widely available to download. Visit www.lpo.org.uk/shop for the latest releases.

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

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

The London Philharmonic Orchestra performs to enthusiastic audiences all round the world. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring continues to form a significant part of the Orchestra’s schedule and is supported by Aviva, the International Touring Partner of the London Philharmonic Orchestra. Tours in 2010/11 include visits to Finland, Germany, South Korea, France, Belgium and Luxembourg.

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.

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

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

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We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group Mr & Mrs Richard & Victoria Sharp Julian & Gill Simmonds Mrs Steven Ward Simon Yates & Kevin Roon 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

Mr Daniel Goldstein Mrs Barbara Green Oliver Heaton 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 Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland

Guy & Utti Whittaker Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mrs Sonja Drexler Mr Charles Dumas David Ellen Commander Vincent Evans

Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Marika Cobbold & Michael Patchett-Joyce Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough Ken Follett

Michael & Christine Henry Mr Glenn Hurstfield Mr R K Jeha Mr & Mrs Maurice Lambert 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 Egil Oldeide Edmund Pirouet Mr Peter Tausig Mrs Kazue Turner Lady Marina Vaizey Mr D Whitelock Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Mrs Jackie Rosenfeld OBE

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Trusts and Foundations Allianz Cultural Foundation The Andor Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust The Candide Charitable Trust The John S Cohen Foundation The Coutts Charitable Trust The Dorset Foundation The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Eranda Foundation The Ernest Cook Trust The Fenton Arts Trust The Foyle Foundation The Jonathan & Jeniffer Harris Trust The Idlewild Trust The Emmanuel Kaye Foundation Maurice Marks Charitable Trust The Michael Marks Charitable Trust Marsh Christian Trust UK Friends of the FelixMendelssohn-Bartholdy Foundation

The Mercers’ Company Adam Mickiewicz Institute Paul Morgan Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The R K Charitable Trust Serge Rachmaninoff Foundation The Rubin Foundation The Samuel Sebba Charitable Trust Sound Connections The Steel Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Sir Jules Thorn Charitable Trust The Underwood Trust Garfield Weston Foundation Youth Music and others who wish to remain anonymous.

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ADMINISTRATION

BOARD OF DIRECTORS

GENERAL ADMINISTRATION

ORCHESTRA PERSONNEL