London Philharmonic Orchestra concert programme 6 Dec 2014

Concert programme lpo.org.uk

Winner of the RPS Music Award for Ensemble Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Leader pieter schoeman supported by Neil Westreich Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 6 December 2014 | 7.30pm

Stravinsky Symphonies of Wind Instruments (original 1920 version) (9’) Harrison Birtwistle Responses: Sweet disorder and the carefully careless, for piano and orchestra (UK premiere)* (25’) Interval Messiaen Oiseaux exotiques (15’) Stravinsky Orpheus: ballet in three scenes (31’)

Vladimir Jurowski conductor Pierre-Laurent Aimard piano * Commissioned by the London Philharmonic Orchestra, Bayerische Rundfunk Musica Viva, Casa da Música Porto and the Boston Symphony Orchestra. The London Philharmonic Orchestra gratefully acknowledges the financial support of the Ernst von Siemens Music Foundation and PRS for Music Foundation.

Free pre-concert performance 6.15–6.45pm | The Clore Ballroom at Royal Festival Hall LPO Soundworks, a collaborative arts project for young people, presents a performance of new music and dance.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome

LPO 2014/15 season 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Pierre-Laurent Aimard 8 Programme notes 15 Next concerts 16 Orchestra news 17 Rachmaninoff: Inside Out 18 Supporters 19 Sound Futures donors 20 LPO administration The timings shown are not precise and are given only as a guide.

Welcome

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London Philharmonic Orchestra 2014/15 season Welcome to tonight’s London Philharmonic Orchestra concert at Southbank Centre’s Royal Festival Hall.

Whether you’re a regular concert-goer, new to the Orchestra or just visiting London, we hope you enjoy your evening with us. Browse the full season online at lpo.org.uk/performances or call 020 7840 4242 to request a copy of our 2014/15 brochure.

Highlights of the season include: •

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

•

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

•

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

•

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

•

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

•

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

•

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

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.

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On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Ilyoung Chae Chair supported by an anonymous donor

Ji-Hyun Lee Chair supported by Eric Tomsett

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

Robert Pool Sarah Streatfeild Yang Zhang Alina Petrenko Amanda Smith Galina Tanney Nilufar Alimaksumova Second Violins Andrew Storey Guest Principal Jeongmin Kim Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Marie-Anne Mairesse Ashley Stevens Floortje Gerritsen Mila Mustakova Sheila Law

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Susanne Martens Benedetto Pollani Laura Vallejo Daniel Cornford Martin Fenn Sarah Malcolm Linda Kidwell Cellos Kristina Blaumane Principal Daniel Gardner Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Santiago Carvalho† Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Lowri Morgan Kenneth Knussen Helen Rowlands Flutes María José Ortuño Benito Guest Principal Sue Thomas* Chair supported by Victoria Robey OBE

Clare Robson Stewart McIlwham* Piccolo Stewart McIlwham* Principal

Alto Flute Sue Thomas*

Trumpets Nicholas Betts Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Oboes Ian Hardwick* Principal Michael O’Donnell Sue Böhling*

Daniel Newell Robin Totterdell

Cor Anglais Sue Böhling* Principal

Trombones Mark Templeton* Principal

Clarinets Peter Sparks Guest Principal Thomas Watmough Emily Meredith Paul Richards E flat Clarinet Thomas Watmough Principal Bass Clarinet/Alto Clarinet Paul Richards Principal Contrabass Clarinet Martin Robertson Bassoons Rebecca Mertens Guest Principal Gareth Newman Simon Estell Contrabassoon Simon Estell Principal Horns David Pyatt* Principal Chair supported by Simon Robey

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

Chair supported by William & Alex de Winton

David Whitehouse Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

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

David Jackson Keith Millar Jeremy Cornes Sarah Mason James Bower Ignacio Molins Harps Rachel Masters* Principal Lucy Haslar * 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 supporter whose player is not present at this concert: Sonja Drexler

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London Philharmonic Orchestra

Full marks to the London Philharmonic for continuing to offer the most adventurous concerts in London.

The Financial Times, 14 April 2014 The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking ensembles in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups.

The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur.

Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. From September 2015 Andrés Orozco-Estrada will take up the position of Principal Guest Conductor. Magnus Lindberg is the Orchestra’s current Composer in Residence.

The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since the Hall’s opening in 1951 and been Resident Orchestra since 1992. It gives around 30 concerts there each season with many of the world’s top conductors and

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soloists. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long The Rest Is Noise festival, charting the influential works of the 20th century. 2014/15 highlights include a seasonlong festival, Rachmaninoff: Inside Out, exploring the composer’s major orchestral masterpieces; premieres of works by Harrison Birtwistle, Julian Anderson, Colin Matthews, James Horner and the Orchestra’s new Composer in Residence, Magnus Lindberg; and appearances by many of today’s most soughtafter artists including Maria João Pires, Christoph Eschenbach, Yannick Nézet-Séguin, Osmo Vänskä, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labèque and Robin Ticciati.

Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer it takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also 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.

Pieter Schoeman leader

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

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label.

There are now over 80 releases available on CD and to download. Recent additions include organ works by Poulenc and Saint-Saëns with Yannick Nézet-Séguin; Strauss’s Don Juan and Ein Heldenleben with Bernard Haitink; Shostakovich’s Symphonies Nos. 6 & 14 and Zemlinsky’s A Florentine Tragedy with Vladimir Jurowski; and Orff’s Carmina Burana with Hans Graf.

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. In 2013 it was the winner of the RPS Music Award for Ensemble.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people.

Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has 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 and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter.

© Patrick Harrison

Touring remains a large part of the Orchestra’s life: highlights of the 2014/15 season include appearances across Europe (including Iceland) and tours to the USA (West and East Coasts), Canada and China.

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.

Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7

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

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Vladimir Jurowski Principal Conductor and Artistic Advisor

Quite apart from the immaculate preparation and the most elegant conducting style in the business, Jurowski programmes with an imagination matched by none of London’s other principal conductors.

© Thomas Kurek

The Arts Desk, December 2012

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of 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 was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 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 previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13).

He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin, New York and St Petersburg Philharmonic orchestras; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

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His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra national de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. lpo.org.uk/about/jurowski

Watch a video of Vladimir Jurowski introducing the LPO 2014/15 season: lpo.org.uk/whats-on/season14-15.html

Pierre-Laurent Aimard

© Marco Borggreve/Deutsche Grammophon

piano

His playing can be technically ferocious and expressively flamboyant, but there’s nothing remotely showy in what he does: it’s always about the music, never about Aimard himself.

The Herald Scotland

Widely acclaimed as a key figure in the music of our time and as a uniquely significant interpreter of piano repertoire from every age, Pierre-Laurent Aimard enjoys an internationally celebrated career.

a long association with Ligeti, recording his complete works for piano. Most recently he performed Carter’s last piece: Epigrams for piano, cello and violin, which was written for him.

Each season he performs worldwide with major orchestras under conductors such as Vladimir Jurowski, Riccardo Chailly, Peter Eötvös, Sir Simon Rattle and Esa-Pekka Salonen. He has created, directed and performed in a number of residencies, including projects at New York’s Carnegie Hall and Lincoln Center, Berlin’s Philharmonie, Cité de la Musique in Paris, Tanglewood Festival and London’s Southbank Centre.

He is currently Artistic Director of the Aldeburgh Festival, where he has impressed audiences and critics alike with his innovative programming.

Through professorships at the Hochschule Köln and Conservatoire de Paris, as well as concert-lectures and workshops worldwide, Aimard sheds an inspiring and personal light on music of all periods. In 2005 he was the recipient of the Royal Philharmonic Society’s Instrumentalist Award, and in 2007 was named ‘Instrumentalist of the Year’ by Musical America. Next year he launches a major online resource in collaboration with the Klavier-Festival Ruhr and Vincent Meyer, centred on the performance and teaching of Ligeti’s piano music featuring masterclasses and performances of the Études and other works.

Current and future highlights include solo recitals in London, New York, Chicago, Paris, Tokyo, Vienna, Beijing and Amsterdam. Concerto appearances include performances with the Boston Symphony Orchestra, Deutsches Symphonie-Orchester Berlin and Chamber Orchestra of Europe. Last month, on 24 October 2014, he gave the world premiere of Sir Harrison Birtwistle’s Responses: Sweet disorder and the carefully careless in Munich with the Bavarian Radio Symphony Orchestra.

Following tonight’s UK premiere with the LPO he will give three further performances of the work in Boston with the Boston Symphony Orchestra. In spring 2015 he undertakes a recital tour with Tamara Stefanovich, playing all of Pierre Boulez’s completed works for piano in celebration of the composer’s 90th birthday.

Aimard has enjoyed close collaborations with many leading composers including Stockhausen, Carter, Boulez, György Kurtág and George Benjamin, and had

Aimard now records exclusively for Deutsche Grammophon. His first DG release, Bach’s Art of Fugue, received both the Diapason d’Or and Choc du Monde de la Musique awards, debuted at No. 1 on Billboard’s classical chart and topped the iTunes classical album download chart. A new recording of Bach’s WellTempered Clavier Book 1 was released in summer 2014.

Born in Lyon in 1957, Pierre-Laurent Aimard studied at the Paris Conservatoire with Yvonne Loriod and in London with Maria Curcio. He was appointed Ensemble InterContemporain’s first solo pianist by Pierre Boulez. pierrelaurentaimard.com facebook.com/pierrelaurentaimard

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Programme notes

Introduction: Responses to Stravinsky Stravinsky’s Symphonies of Wind Instruments was written in 1920 in memory of Debussy; it is performed tonight in its original version, more subdued and austere than the familiar 1945 revision. Although apparently slight in dimensions, it was a significant piece in the history of 20th-century music – chiefly because of its construction as a ‘mosaic’, resembling a tightly edited film sequence, shuffling segments of music of different characters, colouring and tempo before arriving at its solemn closing chorale.

Stravinsky’s mosaic construction was also an important influence on Olivier Messiaen, as was his use of the bright colours of wind instruments in contrasting groups. Wind instruments combine with solo piano and pitched and unpitched percussion in Messiaen’s Oiseaux exotiques of 1955/56, an exuberant collage of the songs of birds from many different parts of the world.

Stravinsky employed the technique of rotating contrasting blocks of material throughout his career, and it can clearly be heard in his 1947 ballet score Orpheus. This is based on the classical myth of the half-divine musician Orpheus and his unsuccessful attempt to rescue his wife Eurydice from the underworld – a story dear to composers across the centuries (not least to Birtwistle). The score is notable for its restraint: its climax, Eurydice’s second death during the couple’s return to earth, is marked by a single bar of string crescendo and two beats of silence. © Anthony Burton

Birtwistle © Simon Harsent; Messiaen © Clive Barda

For Sir Harrison Birtwistle, the Symphonies of Wind Instruments is ‘one of my favourite pieces’, and ‘always the model I come back to’. Its influence may be found in his new work for piano and orchestra, in which ‘each element has an identity. When they start combining, the identity … is retained. [Each element] never loses its identity or changes, right through the piece. It remains discrete. It never disintegrates or merges.’ The quotations are from Wild Tracks, the recently published collection of conversations between Birtwistle and Fiona Maddocks, which fascinatingly charts the slow, painstaking, intuitive process of composition of the work between early 2013 and January 2014. Finally entitled Responses: Sweet disorder and the carefully careless, it was

written for Pierre-Laurent Aimard, who gave the first performance in Munich on 24 October, and tonight gives the British premiere as part of Southbank Centre’s celebrations of Birtwistle’s 80th birthday year.

L–R: Igor Stravinsky, Sir Harrison Birtwistle, Olivier Messiaen

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Igor Stravinsky 1882–1971

Stravinsky described his Symphonies of Wind Instruments as ‘an austere ritual which is unfolded in terms of short litanies between different groups of homogeneous instruments’. The starting-point for its composition was the death of his friend Debussy in 1918. The closing chorale, arranged for piano, was published in December 1920, in a special edition of the magazine La Revue Musicale called ‘Tombeau de Claude Debussy’. But by the time this appeared, Stravinsky had already completed the parent work, dedicated ‘to the memory of Claude Achille Debussy’. It was first performed in London the following June under Serge Koussevitzky.

The work is scored for enlarged orchestral woodwind and brass sections. In its original form, the scoring included alto flute and the rare alto clarinet. Stravinsky chose not to publish the score of this version during his lifetime. But in 1945, he made a radically revised version, among other things removing the alto flute and alto clarinet, and giving a much sharper edge to many of its attacks. This revision, published in 1947, became the standard version. But the original version remained available in sets of proof parts, and was preferred by several leading conductors; it eventually appeared in print in 2001.

Piano Symphonies Concerto of No. Wind 3 in Instruments D minor, Op. 30 (original 1920 version) Simon Trpčeski piano

1 Allegro ma non tanto 2 Intermezzo: Adagio – 3 Finale: Alla breve

different aspects: with a changing quaver beat, it is associated with an incisive bell-like figure dominated by high clarinets; with a more regular crotchet pulse, it is associated with slow-moving chord progressions for the full ensemble. Tempo II brings a series of winding, Russian-sounding melodies (reminiscent of Stravinsky’s 1913 The Rite of Spring) for small groups of woodwind, punctuated by more energetic outbursts. Tempo III does not appear until about halfway through the piece, and is used chiefly in two episodes in rapidly changing metres – the first reminiscent of the orgiastic dances of The Rite, the second lighter on its feet. Meanwhile the slow-crotchet version of Tempo I disappears from the mix, except in two short interjections of brass chords; but these prove to be anticipations of the memorial chorale, which emerges at full length to bring the work to a solemn end.

Mini film guides to this season’s works For the 2014/15 season we’ve produced a series of short films introducing the pieces we’re performing.

Watch Patrick Bailey introduce Stravinsky’s Symphonies of Wind Instruments: lpo.org.uk/explore/videos.html

The title of ‘symphonies’ does not refer to traditional symphonic procedures, but is used in its older sense of ‘sounding together’. The work is constructed in a series of short, intercut segments in different tempi and colours – a highly original procedure in 1920, which may have owed something to the then-new art of film editing or ‘montage’, and which had a profound influence on many 20th-century composers. There are three related tempi, Tempo II half as fast again as Tempo I, Tempo III twice as fast. Tempo I has two

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Programme notes continued

Harrison Birtwistle

Responses: Sweet disorder and the carefully careless, for piano and orchestra Pierre-Laurent Aimard piano

born 1934

Composer Profile: Sir Harrison Birtwistle Harrison Birtwistle was born in Accrington in Lancashire in 1934 and studied clarinet and composition at the Royal Manchester College of Music, making contact with a highly talented group of contemporaries including Peter Maxwell Davies, Alexander Goehr, John Ogdon and Elgar Howarth.

In 1965 he sold his clarinets to devote all his efforts to composition, and travelled to Princeton in the USA as a Harkness Fellow, where he completed the opera Punch and Judy. This work, together with Verses for Ensembles and The Triumph of Time, firmly established Birtwistle as a leading voice in British music.

Birtwistle’s works of recent decades include Exody, premiered by the Chicago Symphony Orchestra and Daniel Barenboim in 1998; Panic, which received a high-profile premiere at the Last Night of the 1995 BBC Proms with an estimated worldwide audience of 100 million; and The Shadow of Night, commissioned by The Cleveland Orchestra and Christoph von Dohnányi. The Last Supper received its first performances at the Deutsche Staatsoper in Berlin and at Glyndebourne in 2000. Pulse Shadows, a meditation for soprano, string quartet and chamber ensemble on poetry by Paul Celan, was released on disc by Teldec and won the 2002 Gramophone Award for Best Contemporary Recording. Theseus Game, cocommissioned by RUHRtriennale, Ensemble Modern and the London Sinfonietta, was premiered in 2003.

The following year brought first performances of The Io Passion for Aldeburgh Almeida Opera and Night’s Black Bird, commissioned by Roche for the Lucerne Festival. Birtwistle’s opera The Minotaur received its

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premiere at the Royal Opera House, Covent Garden in 2008 and has been released on DVD by Opus Arte.

His music theatre work The Corridor opened the Aldeburgh Festival and toured to Southbank Centre and the Bregenz Festival, with further performances in New York and Amsterdam. Birtwistle’s Violin Concerto for Christian Tetzlaff was premiered by the Boston Symphony Orchestra in 2011, followed by performances at the BBC Proms, Tokyo Composium and Salzburg Festival. Future plans include The Cure, a theatre work commissioned by the Aldeburgh Festival and the Royal Opera House, Covent Garden for 2015.

Birtwistle has received many honours, including the Grawemeyer Award in 1968 and the Siemens Prize in 1995; he was made a Chevalier de l’Ordre des Arts et des Lettres in 1986, awarded a British knighthood in 1988 and made a Companion of Honour in 2001. He was Henry Purcell Professor of Music at King’s College, University of London (1995–2001) and is currently Director of Composition at the Royal Academy of Music in London. Recordings of Birtwistle’s music are available on the Decca, Philips, Deutsche Grammophon, Teldec, Black Box, NMC, CPO and Soundcircus labels. His music is published by Boosey & Hawkes and Universal Edition.

2014 is Birtwistle’s 80th birthday year and, as well as this celebration weekend of concerts, talks and free performances at Southbank Centre, also includes a concert series at the Barbican in London and a selection of new recordings.

Reprinted by kind permission of Boosey & Hawkes

Sweet Disorder: Sir Harrison Birtwistle in conversation with Jonathan Cross

JC: What was your starting point for this concerto?

HB: Its essential question is this: what is the relationship between the piano and the orchestra? That’s my problem!

So how did you set about solving that problem?

Well, I don’t know whether I’ve solved it. To begin with, I didn’t know what to do with the piano.

But it’s not the first time you’ve written for piano and orchestra [Antiphonies of 1992]?

No, but I don’t think I did it very well last time. This is a more interesting piece for me. The piano writing is more intricate. I found a way into my new concerto via a work I wrote for the London Sinfonietta in 2011 called In Broken Images. It’s a piece for choirs of instruments, a bit like the antiphonal music of Gabrieli. It’s spatial music.

It reminds me of some of your works from the 1960s where you boldly oppose instrumental groups. I’m thinking in particular of Verses for Ensembles.

Yes. But in In Broken Images it’s very fractured. It’s not just about setting one choir as a block against another.

There’s also a lot of hocket within it. That’s important.

So In Broken Images was a sort of study for the new concerto?

Well, not consciously. I had actually been making a selfconscious attempt to dabble in the past rather than the future. I wrote a piano trio [2010]. But now when I listen to it, I don’t think it’s got anything to do with the 19th century as such. Just the genre of the piano trio.

Isn’t the idea of a piano concerto also deeply rooted in the 18th and 19th centuries?

That’s different! When one thinks of a concerto, one usually expects the orchestra to play some of the tune, then the soloist to play some of it. It’s the same material.

This is not the case in my work. Rather, it’s a dialogue: the soloist is asking questions.

Questions and responses?

Yes. Can you say a little more about the ‘problem’ of the piano concerto?

It’s about this relationship between piano and orchestra.

It has to be equal for solo and tutti, and you can’t have counterpoint.

Why not? You’ve written counterpoint for solo piano very successfully? What’s different in this context?

I don’t think it’s in the nature of the material I was working with. It wouldn’t solve my problem; in fact, it would make the problem more difficult. When I wrote my violin concerto [2009–10] I set myself the very simple challenge to write in such a way that you could hear the violin all the time. I think I succeeded.

And you see that as an issue here too, to ensure the piano is always heard?

Yes. There’s quite a lot of chamber scoring here, intricate, delicate. The whole piece is about hocket: it’s full of it.

The piano is able to play one of the voices of the hocket, so allowing it to be heard throughout. Look here. [He turns to the middle of the score.] This moment is the essence of the ideas of the piece, coming about half way through. This is a hocket too. The piano here is like a frame and the orchestral response is the window. The rhythmical gesture of the piano is always the same, but the notes are different on each of the seven repetitions.

It’s like a set of variations.

So how do we reach that moment? You composed it chronologically?

Yes, I can’t do it any other way. It’s an intuitive journey.

I’ve never gone into any piece with a pre-conceived idea of its shape.

So how do you know when you’ve got to the end?

When I think I’ve said something within the nature of the material.

The piece starts with the note E, like you usually do …

Well, I start the walk in the same place each time.

And once you’ve been on your walk, and you review where you’ve been, what sort of picture do you have in your mind of the whole?

[Long silence] It looks like the relationship between the piano and the tutti.

I’m interested in what happens in all music, taking you on a journey, setting up something logical. To my way of listening, Beethoven never does what you think he’s going to do. Now, I want to create that situation but I don’t want to be perverse: if you try to shock all the time, then it’s no longer a shock. Yet I also want to write a formal music. In a way, this piece is in formal blocks.

Continued overleaf London Philharmonic Orchestra | 11

Programme notes continued

I began by writing very obvious blocks of music, and then I became interested in how I was going to move from one block to another: bridge passages, blurring the edges.

There’s a beautiful moment halfway through. The music slows right down and the piano becomes freer. It’s as if the piano is trying to discover its identity.

Yeah. I don’t know whether it finds it, though! It keeps searching for a lyrical voice.

And there’s just one moment not long before the end for piano alone.

That was a very conscious moment of resolution for the instrument.

Where does the work’s subtitle come from?

It’s taken from a collection of essays by the Princeton architect Robert Maxwell. Maxwell is a friend of mine, father of the oboist Melinda Maxwell, who has played a lot of my music. It’s a resonant phrase. I identify with his ideas on modernism, but I take it on a simple level too. The carefully careless and sweet disorder: it’s the essence of what I’m doing!

And then there’s a quotation from Proust’s Du côté de chez Swann, which you place at the very end of the score: ‘symmetrical intervals in the midst of inimitable ornamentation’.

As soon as I’d finished composing the concerto I sat down to read some Proust, and the first lines I read were those, so I thought I’d just put them in the score. They’re quite apt, aren’t they?

Do you have a clear idea of how your new work will sound?

I don’t know how it will speak. That’s what I’m always surprised by. That’s the one ingredient I’m more interested in than anything else: what the journey will be like in musical time.

The conversation took place at the composer’s home on 14 August 2014.

Jonathan Cross is Professor of Musicology at the University of Oxford. He is the author of Harrison Birtwistle: Man, Mind, Music (2000) and Harrison Birtwistle; The Mask of Orpheus (2009).

Interval – 25 minutes An announcement will be made five minutes before the end of the interval.

Olivier Messiaen

Oiseaux exotiques Pierre-Laurent Aimard piano

1908–92

Birdsong meant a great deal to Olivier Messiaen; and during one period of his career, roughly from 1953 to 1960, it provided almost all the material for his compositions. Among the key works of this period is Oiseaux exotiques (‘Exotic birds’), which he composed between October 1955 and January 1956 for Pierre Boulez’s Domaine Musical concert series in Paris.

It is scored for solo piano – a virtuoso part designed

12 | London Philharmonic Orchestra

for Messiaen’s second wife Yvonne Loriod – and an ensemble of 18 players: eight woodwind, three brass, keyed glockenspiel, xylophone and five other percussionists. In a preface to the score, Messiaen stressed the importance of allowing not only the piano but also the xylophone and the two clarinets to be heard as solo instruments; but he added that ‘the work is an enormous counterpoint of birdsong in which

everything counts, and one must in the end be able to hear every instrument.’

The ‘enormous counterpoint of birdsong’ is built up from the songs of 47 birds, all identified in the score; they are predominantly from North America but also from India, China, Malaysia, the Canary Islands and South America. The songs, mostly transcribed from recordings, are adapted to fit the equal-tempered scale, and harmonised and scored in such a way as to suggest their original colouring. An additional element is the use by the unpitched percussion in the two main tutti (fully scored) sections of rhythmic patterns derived from ancient Indian and Greek music; the combination of these patterns and the repetitions of the birdsong gives these sections a quality of almost hypnotic insistence.

Featuring: VLADIMIR JUROWSKI conductor

06.12.14 HARRISON BIRTWISTLE Responses: Sweet disorder and the carefully careless for piano and orchestra (UK premiere)

28.01.15 MAGNUS LINDBERG

Work for soprano and orchestra (world premiere)

14.03.15 JULIAN ANDERSON

Violin Concerto (world premiere)

21.03.15 MAGNUS LINDBERG Piano Concerto No. 2 (UK premiere)

The work is constructed as a mosaic of tutti sections, episodes for smaller groupings within the ensemble and cadenzas for solo piano. A shaping element is the play of colours suggested by instrumental timbres and harmonies. Messiaen wrote: ‘In the horn parts of the second tutti there is an orange colour, a mixture of gold and red; in the first and last piano cadenzas, green and gold. The central tutti mixes in coloured spirals, in whirlings of intermingled rainbows, blues, reds, oranges, greens, violets and purples.’ Another formal element is the repetition of some of the birdsongs: for example, the vocifération implacable of the Himalayan white-crested laughing thrush is heard at the end of the orchestral introduction, in a different version at the beginning and end of the long central tutti, and again in its original form at the very end of the work.

NO LOOKING BACK 2014/15 concert season at Southbank Centre’s Royal Festival Hall

‘Full marks to the London Philharmonic for continuing to offer the most adventurous concerts in London’ Financial Times

New works, world premieres and music that broke the mould

Find out more at lpo.org.uk

Supported by: Ernst von Siemens Music Foundation and PRS for Music Foundation (Birtwistle commission), the Sharp family (28 January concert), PRS for Music Foundation and the Boltini Trust (Anderson commission)

London Philharmonic Orchestra | 13

Programme notes continued

Igor Stravinsky

Piano Orpheus: Concerto ballet No.in3 three in D minor, scenesOp. 30 Simon Trpčeski piano 1 Allegro ma non tanto 2 Intermezzo: Adagio – 3 Finale: Alla breve

Stravinsky composed Orpheus between October 1946 and September 1947 for the Ballet Society of New York (later New York City Ballet), which presented it in April 1948. The idea had been proposed by the Georgianborn choreographer George Balanchine, and the two men worked out the scenario together. It was based on the ancient Greek myth of the musician demi-god whose divine art enables him to bring his wife Eurydice back from the land of the dead, but whose human impatience in disobeying the instruction not to look at her brings about her second death. Elements of the scenario are borrowed from the operatic treatments of the myth by Monteverdi and Gluck. And Stravinsky’s score echoes Gluck’s in its Classical elegance and restraint. It is written for an orchestra of more or less Schubertian dimensions, but with a prominent part for harp, symbolising Orpheus’s lyre.

The ballet is played without a break, but is divided into three scenes. At the start of the first, in the words of the scenario printed in the score, ‘Orpheus weeps for Eurydice. He stands motionless, with his back to the audience … Some friends pass bringing presents and offering him sympathy.’ The harp is to the fore, in descending scale patterns against slow-moving strings; the wind enter with the sympathetic friends. Orpheus dances a resolute solo ‘Air de Danse’, in operatic A–B–A form, with a prominent solo violin in the outer sections.

The ‘Dance of the Angel of Death’, with baleful horns, introduces the guide who will lead Orpheus into the underworld; at the end, to the sound of trombone and trumpet over tremolando strings, ‘the Angel leads Orpheus to Hades’. In an ‘Interlude’ of angular counterpoint, they ‘reappear in the gloom of Tartarus’.

The second scene is set in Tartarus, or Hell, which is ruled over by Hades (here a person, not a place). It begins with a ‘Dance of the Furies’, in which ‘their agitation and their threats’ are expressed by restless strings. Orpheus pleads his cause in a second ‘Air de Danse’, this time in the form of a recitative, with harp, and aria, with solo oboes; the middle section of the aria is replaced by a brief ‘Interlude’ of dialogue between woodwind and strings in which ‘the tormented souls in Tartarus stretch out their fettered arms towards Orpheus, and implore him to continue his song of consolation’. In the following ‘Pas d’Action’, ‘Hades, moved by the song of Orpheus, grows calm. The Furies surround him [Orpheus], bind his eyes, and return Eurydice to him.’ Then in a ‘Pas de Deux’, its outer sections for strings alone, Orpheus leads Eurydice out of Tartarus, until ‘Orpheus tears the bandage from his eyes. Eurydice falls dead’ – a climactic moment marked only by a sudden crescendo and a two-beat silence. An ‘Interlude’, with minatory brass, precedes a ‘Pas d’Action’ in which the Bacchantes, frenzied female followers of the god Bacchus or Dionysus, ‘attack Orpheus, seize him and tear him to pieces’.

In the short final scene, ‘Orpheus’s Apotheosis’, Orpheus’s father the sun-god Apollo appears. ‘He wrests the lyre from Orpheus and raises his song heavenwards.’

The descending harp scales of the opening return, now accompanying three-part counterpoint on horns and trumpet; but then the scales turn upwards, and the harp emerges briefly as a soloist. As Stravinsky commented to a friend, ‘Orpheus is dead, the song is gone, but the accompaniment goes on.

Stravinsky and Messiaen programme notes © Anthony Burton

14 | London Philharmonic Orchestra

Next LPO concerts at Royal Festival Hall

Wednesday 21 January 2015 | 7.30pm Rachmaninoff: Inside Out* Wagner Das Rheingold (excerpts) Rachmaninoff The Miserly Knight (semi-staged; sung in Russian with English surtitles) Vladimir Jurowski conductor Annabel Arden director Lucy Carter lighting designer Joanna Parker design consultant For full performer details see lpo.org.uk Free pre-concert discussion 6.15–6.45pm | Royal Festival Hall Director Annabel Arden discusses her semi-staging of The Miserly Knight.

Saturday 24 January 2015 | 7.30pm Stravinsky Requiem Canticles Verdi Requiem Vladimir Jurowski conductor Maija Kovalevska soprano Ildikó Komlósi mezzo soprano Dmytro Popov tenor Nikolay Didenko bass† London Philharmonic Choir Orféon Pamplonés † Please note a change to the artist as originally advertised.

We are grateful to an anonymous donor for supporting the participation of Orféon Pamplonés in this concert.

Wednesday 28 January 2015 | 7.30pm Debussy Le Martyre de Saint Sébastien (symphonic fragments) Magnus Lindberg Accused: three interrogations for soprano and orchestra (world premiere)† Wagner Prelude to Act 1, Tristan und Isolde Scriabin The Poem of Ecstasy Vladimir Jurowski conductor Barbara Hannigan soprano † Commissioned by the London Philharmonic Orchestra, Gothenburg Symphony Orchestra and Toronto Symphony Orchestra, The Cleveland Orchestra and Carnegie Hall.

Concert generously supported by Victoria Robey OBE.

Free pre-concert event 6.15–6.45pm | Royal Festival Hall New Composer in Residence Magnus Lindberg talks about his new role with the Orchestra and his latest work premiered this evening.

Saturday 7 February 2015 | 7.30pm Rachmaninoff: Inside Out* Rachmaninoff Three Russian Songs Rachmaninoff Spring Enescu Symphony No. 3 Vladimir Jurowski conductor Andrei Bondarenko baritone London Philharmonic Choir Free pre-concert event 4.00–6.00pm | Royal Festival Hall Rex Lawson and Denis Hall, of the Pianola Institute, give a unique performance of Rachmaninoff piano rolls. * Rachmaninoff: Inside Out is presented in co-operation with the Serge Rachmaninoff Foundation.

Tickets £9–£39 (premium seats £65) London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm | lpo.org.uk | Transaction fees: £1.75 online, £2.75 telephone.

Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm | southbankcentre.co.uk | Transaction fees: £1.75 online, £2.75 telephone.

No transaction fee for bookings made in person

London Philharmonic Orchestra | 15

Orchestra news

New CD: Poulenc & Saint-Saëns organ works Recently released on the LPO Label is a disc of Poulenc’s Organ Concerto and SaintSaëns’s ‘Organ’ Symphony, recorded live at Royal Festival Hall (LPO-0081). This sellout concert in March 2014, conducted by Yannick NézetSéguin with organist James O’Donnell, launched the refurbished Royal Festival Hall organ, complete for the first time since 2005.

The CD booklet includes full organ specification and an article on the history and refurbishment of the organ by its curator, Dr William McVicker.

The CD is priced £9.99, including free postage. Buy from lpo.org.uk/recordings, the London Philharmonic Orchestra Box Office (020 7840 4242), all good CD outlets, and the Royal Festival Hall shop. Also available to download via iTunes, Spotify and others.

New LP box set: Vladimir Jurowski conducts the complete Brahms Symphonies Also released on the LPO Label last month was a very special 4-LP box set: Brahms’s complete four symphonies conducted by Principal Conductor and Artistic Advisor Vladimir Jurowski. These recordings – of live LPO concerts at Southbank Centre’s Royal Festival Hall between 2008 and 2011 – have previously been released as two separate LPO Label CDs, but are brought together in one package for the first time in this exclusive box set, which will be a must-have for lovers of Brahms, Jurowski fans and vinyl enthusiasts alike.

The box set is priced £85.00, including free postage. Buy from lpo.org.uk/recordings, the London Philharmonic Orchestra Box Office (020 7840 4242) and all good CD outlets.

Family Concert: The Pied Piper of Hamelin

December tours

On Sunday 8 February at 12 noon, children’s author Michael Morpurgo (War Horse, The Mozart Question) and Colin Matthews, one of today’s most exciting living composers, team up with the London Philharmonic Orchestra at Royal Festival Hall to present the world premiere of The Pied Piper of Hamelin. The timeless story of the travelling flute player and the rich, greedy mayor is compellingly and movingly told through the eyes of a young boy – one of Hamelin’s Thief-Dogs. Vladimir Jurowski conducts, with Michael Morpurgo narrating.

This Monday, 8 December, the Orchestra will travel to Germany with conductor Vladimir Jurowski and cellist Sol Gabetta for concerts in Cologne, Stuttgart, Freiburg, Munich, Friedrichshafen, Hamburg and Hannover.

The performance is suitable for children aged 7 and over.

Tickets are £14–18 for adults and half price for under16s. Book now at lpo.org.uk or call the LPO Ticket Office on 020 7840 4242.

The Pied Piper of Hamelin is commissioned by the London Philharmonic Orchestra with the generous support of the PRS for Music Foundation.

The run-up to Christmas sees the Orchestra’s first visit to Iceland where, with conductor Osmo Vänskä and pianist Leif Ove Andsnes, they will give two concerts on 18 & 19 December at Harpa, a stunning new waterfront concert hall in Reykjavík. This tour is an exciting venture for the Orchestra, particularly as we will be the first British orchestra to perform at the venue.

The Orchestra will celebrate New Year in China with two concerts at the futuristic Guangzhou Opera House, a venue we last visited in 2011. Vassily Sinaisky will conduct, with pianist Behzod Abduraimov. This tour also includes concerts in Shenzhen, Shanghai and Beijing, before we return to London in early January.

Follow our tour adventures on Twitter: @lporchestra

16 | London Philharmonic Orchestra

I N S I D E

O U T

A year-long exploration of the composer’s life and music, at Southbank Centre’s Royal Festival Hall throughout 2014/15 Friday 3 October 2014 | 7.30pm JTI Friday Series

Rachmaninoff The Isle of the Dead | Symphonic Dances | Piano Concerto No. 1 (original version)

Saturday 7 February 2015 | 7.30pm Rachmaninoff Three Russian Songs | Spring Enescu Symphony No. 3

Vladimir Jurowski conductor | Alexander Ghindin piano

Vladimir Jurowski conductor | Andrei Bondarenko baritone London Philharmonic Choir

Wednesday 29 October 2014 | 7.30pm

Wednesday 11 February 2015 | 7.30pm

Rachmaninoff Piano Concerto No. 3 | Symphony No. 2

Stravinsky Symphony in Three Movements Rachmaninoff Piano Concerto No. 2 | The Bells

Vassily Sinaisky conductor | Pavel Kolesnikov piano

Friday 7 November 2014 | 7.30pm JTI Friday Series

Vasily Petrenko conductor | Jorge Luis Prats piano Anna Samuil soprano | Daniil Shtoda tenor Alexander Vinogradov bass | London Philharmonic Choir

Vaughan Williams Fantasia on a Theme by Thomas Tallis Rachmaninoff Piano Concerto No. 4 (final version) Tchaikovsky Symphony No. 1 (Winter Daydreams)

Friday 13 February 2015 | 7.30pm

Osmo Vänskä conductor | Nikolai Lugansky piano

Rachmaninoff Piano Concerto No. 4 (original version) Shostakovich Symphony No. 4

Friday 28 November 2014 | 7.30pm

Vasily Petrenko conductor | Alexander Ghindin piano

JTI Friday Series

Wagner Overture, Tannhäuser Rachmaninoff Rhapsody on a Theme of Paganini Tchaikovsky Symphony No. 4

JTI Friday Series

Wednesday 25 March 2015 | 7.30pm Mozart Symphony No. 36 (Linz) | Dvořák Symphony No. 8 Rachmaninoff Piano Concerto No. 1 (final version)

David Zinman conductor | Behzod Abduraimov piano

Ilyich Rivas conductor | Dmitry Mayboroda piano

Wednesday 3 December 2014 | 7.30pm

Wednesday 29 April 2015 | 7.30pm

Szymanowski Concert Overture Scriabin Piano Concerto | Rachmaninoff Symphony No. 1

Rachmaninoff Four Pieces | Ten Songs | Symphony No. 3 Vladimir Jurowski conductor | Vsevolod Grivnov tenor

Vladimir Jurowski conductor | Igor Levit piano

Wednesday 21 January 2015 | 7.30pm Wagner Das Rheingold (excerpts) Rachmaninoff The Miserly Knight (semi-staged) Vladimir Jurowski conductor Annabel Arden director For a full list of artists, visit lpo.org.uk

Tickets: £9–£39 (Premium seats £65) See booking details on opposite page Rachmaninoff: Inside Out is presented in co-operation with the Serge Rachmaninoff Foundation.

London Philharmonic Orchestra | 17

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 Neil Westreich William and Alex de Winton Simon Robey Victoria Robey OBE Julian & Gill Simmonds* Anonymous Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Mrs Philip Kan* Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett John & Manon Antoniazzi Jane Attias John & Angela Kessler Guy & Utti Whittaker * BrightSparks patrons. Instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

Principal Benefactors Mark & Elizabeth Adams Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook David Ellen Mr Daniel Goldstein Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Mr Michael Posen Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mrs A Beare David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Georgy Djaparidze Mr David Edgecombe Mr Timothy Fancourt QC Mr Richard Fernyhough Tony & Susan Hayes Michael & Christine Henry Malcolm Herring J. Douglas Home Ivan Hurry Mr Glenn Hurstfield Per Jonsson

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

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK Berenberg British American Business Carter-Ruck Bronze: Appleyard & Trew LLP Charles Russell Speechlys Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets

18 | London Philharmonic Orchestra

Trusts and Foundations Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Peter Carr Charitable Trust, in memory of Peter Carr The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Hinrichsen Foundation The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leche Trust Marsh Christian Trust

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

Sound Futures Donors We are grateful to the following donors for their generous contributions to Sound Futures, which will establish our first ever endowment. Donations from those below, as well as many who have chosen to remain anonymous, have already been matched pound for pound by Arts Council England through a Catalyst Endowment grant.

By May 2015 we aim to have raised £1 million which, when matched, will create a £2 million fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre.

We thank those who are helping us to realise the vision.

Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Tsukanov Family Foundation The Underwood Trust

Kasia Robinski David Ross and Line Forestier (Canada) Tom and Phillis Sharpe Mr & Mrs G Stein TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker

Welser-Möst Circle John Ireland Charitable Trust Neil Westreich

Pritchard Donors Anonymous Linda Blackstone Michael Blackstone Yan Bonduelle Richard and Jo Brass Britten-Pears Foundation Business Events Sydney Desmond & Ruth Cecil Lady June Chichester John Childress & Christiane Wuillamie Lindka Cierach Paul Collins Mr Alistair Corbett Dolly Costopoulos Mark Damazer Olivier Demarthe David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Commander Vincent Evans Mr Timothy Fancourt QC Christopher Fraser OBE Karima & David G Lyuba Galkina David Goldberg Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust John Hunter

Tennstedt Circle Simon Robey Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas Anonymous John & Manon Antoniazzi Georgy Djaparidze Mrs Mina Goodman and Miss Suzanne Goodman Robert Markwick The Rothschild Foundation Haitink Patrons Mark & Elizabeth Adams Lady Jane Berrill David & Yi Yao Buckley Bruno de Kegel Goldman Sachs International Moya Greene Tony and Susie Hayes Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Dr Karen Morton Ruth Rattenbury Sir Bernard Rix

Ivan Hurry Rehmet Kassim-Lakha Tanya Kornilova Peter Leaver Mr Mark Leishman LVO and Mrs Fiona Leishman Howard & Marilyn Levene Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Dr Frank Lim Dr Eva Lotta & Mr Thierry Sciard Peter Mace Geoff & Meg Mann Ulrike Mansel Marsh Christian Trust John Montgomery Rosemary Morgan Paris Natar John Owen The late Edmund Pirouet Mr Michael Posen Sarah & John Priestland Victoria Provis William Shawcross Tim Slorick Howard Snell Lady Valerie Solti Stanley Stecker Lady Marina Vaizey Helen Walker Timothy Walker AM Laurence Watt Des & Maggie Whitelock Brian Whittle Christopher Williams Peter Wilson Smith Victoria Yanakova Mr Anthony Yolland

London Philharmonic Orchestra | 19

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Neil Westreich * Player-Director Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Alison Atkinson Digital Projects Director

Alexandra Clarke Education and Community Project Manager

Matthew Freeman Recordings Consultant

Amy Sugarman PA to the Chief Executive / Administrative Assistant Finance David Burke General Manager and Finance Director

Lucy Duffy Education and Community Project Manager

Public Relations Albion Media (Tel: 020 3077 4930)

Richard Mallett Education and Community Producer

Archives

David Greenslade Finance and IT Manager

Development

Samanta Berzina Finance Officer

Nick Jackman Development Director

Gillian Pole Recordings Archive

Concert Management

Catherine Faulkner Development Events Manager

Charles Russell Solicitors

Kathryn Hageman Individual Giving Manager

Graham Wood Concerts and Recordings Manager

Crowe Clark Whitehill LLP Auditors

Laura Luckhurst Corporate Relations Manager

Dr Louise Miller Honorary Doctor

Jenny Chadwick Tours Manager

Anna Quillin Trusts and Foundations Manager

Tamzin Aitken Glyndebourne and UK Engagements Manager

Helen Etheridge Development Assistant

Roanna Gibson Concerts Director

Alison Jones Concerts and Recordings Co-ordinator

Rebecca Fogg Development Assistant Kirstin Peltonen Development Associate

Jo Cotter Tours Co-ordinator

Marketing

Orchestra Personnel

Kath Trout Marketing Director

Andrew Chenery Orchestra Personnel Manager

Mia Roberts Marketing Manager

Sarah Holmes Sarah Thomas Librarians (job-share)

Rachel Williams Publications Manager

Christopher Alderton Stage Manager

Samantha Cleverley Box Office Manager (Tel: 020 7840 4242)

Damian Davis Transport Manager

Libby Northcote-Green Marketing Co-ordinator

Ellie Swithinbank Assistant Orchestra Personnel Manager

Lorna Salmon Intern

20 | London Philharmonic Orchestra

Philip Stuart Discographer

Professional Services

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

Photograph of Birtwistle © Simon Harsent. Photograph of Messiaen © Clive Barda.

Front cover photograph: Martin Hobbs, horn © Julian Calverley.

Cover design/ art direction: Chaos Design.

Printed by Cantate.