LPO concert programme 8 November 2013

Concert programme 2013/14 season Part of Southbank Centre’s

London cover 13-14 v3.indd 1

9/6/2013 12:14:31 PM

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

JTI Friday Series Southbank Centre’s Royal Festival Hall Friday 8 November 2013 | 7.30pm

The Genius of Film Music 1960–1980 North Cleopatra Symphony (27’) Rota The Godfather – A symphonic portrait (17’) Waxman The Ride of the Cossacks (5’) Interval Herrmann Psycho – A narrative for string orchestra (15’) Kaper Mutiny on the Bounty (17’) Goldsmith Star Trek – The New Enterprise (9’)

John Mauceri conductor

* supported by the Tsukanov Family Foundation and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Programme £3 Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader 6 John Mauceri 7 Programme notes 10 Catalyst: Double Your Donation 11 Supporters 12 LPO administration The timings shown are not precise and are given only as a guide.

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance.

Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery.

If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium.

LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance.

RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre.

Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

Southbank Centre’s The Rest Is Noise, inspired by Alex Ross’s book The Rest Is Noise Presented by Southbank Centre in partnership with the London Philharmonic Orchestra. southbankcentre.co.uk/therestisnoise The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in general and classical music in particular. Inspired by Alex Ross’s book The Rest Is Noise, we use film, debate, talks and a vast range of concerts to reveal the fascinating stories behind the century’s wonderful and often controversial music.

We have brought together the world’s finest orchestras and soloists to perform many of the most significant works of the 20th century. We reveal why these pieces were written and how they transformed the musical language of the modern world.

Over the year, The Rest Is Noise focuses on 12 different parts. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes.

If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this.

Jude Kelly Artistic Director, Southbank Centre

2 | London Philharmonic Orchestra

On stage tonight

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

Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Rebecca Shorrock Alina Petrenko Galina Tanney Caroline Frenkel Caroline Sharp Second Violins Winona Fifield Guest Principal Joseph Maher Fiona Higham Ashley Stevens Nancy Elan Nynke Hijlkema Imogen Williamson Sioni Williams Alison Strange Stephen Stewart Sheila Law Elizabeth Baldey Violas Tom Dunn Guest Principal Robert Duncan Katherine Leek Benedetto Pollani

Laura Vallejo Susanne Martens Daniel Cornford Michelle Bruil Isabel Pereira Sarah Malcolm Cellos Josephine Knight Guest Principal Francis Bucknall Laura Donoghue David Lale Santiago Carvalho† Elisabeth Wiklander Sue Sutherley Susanna Riddell

Cor Anglais Sue Böhling Principal Chair supported by Julian & Gill Simmonds

Clarinets Robert Hill* Principal Emily Meredith

Bass Trombone Lyndon Meredith Principal

E-flat Clarinet Douglas Mitchell

Tubas Lee Tsarmaklis* Principal Jonathan Riches

Bass Clarinet Duncan Gould Saxophone Kyle Horch

Double Basses Tim Gibbs Principal George Peniston Richard Lewis Kenneth Knussen Helen Rowlands Tom Walley

Bassoons Gareth Newman* Principal Claire Webster

Flutes Frederic Sánchez Guest Principal Sue Thomas

Horns John Ryan* Principal David Pyatt* Principal

Chair supported by the Sharp Family

Piccolo Stewart McIlwham* Principal Alto Flute Sue Thomas Oboes Ian Hardwick Principal Rachel Harwood-White

Trombones Mark Templeton* Principal David Whitehouse Andrew Connington

Contrabassoon Simon Estell Principal

Chair supported by Simon Robey

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Timothy Ball Peter Blake Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal Daniel Newell

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

Tom Edwards Keith Millar Sarah Mason Harps Rachel Masters* Principal Chair supported by Friends of the Orchestra

Lucy Haslar Keyboards Catherine Edwards Roderick Elms Accordian Eddie Hessian Guitar/Mandolin Nigel Woodhouse * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

The London Philharmonic Orchestra also acknowledges the following chair supporters whose player is not present at this concert: David & Victoria Graham Fuller

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

After playing so perfectly prepared and beautifully detailed as this, the rest is noise indeed. The Guardian 2 October 2013, Royal Festival Hall: Vladimir Jurowski conducts Britten

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 orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people every year through activities for schools and local communities.

The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the greatest names in the conducting world, 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, and Yannick Nézet-Séguin is Principal Guest Conductor. Julian Anderson 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 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the

4 | London Philharmonic Orchestra

world’s top conductors and soloists. 2013/14 highlights include a Britten centenary celebration with Vladimir Jurowski; world premieres of James MacMillan’s Viola Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin including Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s ‘Organ’ Symphony; and two concerts of epic film scores. We welcome soloists including Evelyn Glennie, Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Emanuel Ax, Leonidas Kavakos, Julia Fischer and Simon Trpčeski, and a distinguished line-up of conductors including Christoph Eschenbach, Osmo Vänskä, Vasily Petrenko, Jukka-Pekka Saraste and Stanisław Skrowaczewski. Throughout the second half of 2013 the Orchestra continues its year-long collaboration with Southbank Centre in The Rest Is Noise festival, exploring the influential works of the 20th century.

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

Pieter Schoeman leader

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 70 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 1 with Vladimir Jurowski; Vaughan Williams’s Symphonies Nos. 5 & 7 with Bernard Haitink; Mahler’s Das Lied von der Erde with Yannick NézetSéguin, Sarah Connolly and Toby Spence; and a disc of new works by the Orchestra’s Composer in Residence, Julian Anderson.

In summer 2012 the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians and audiences through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; fusion ensemble The Band; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, digital advances and social media have enabled the Orchestra to reach even more people across the globe: all its recordings are available to download from iTunes and, as well as a YouTube channel, iPhone app and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. lpo.org.uk

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

© Patrick Harrison

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. Touring remains a large and vital part of the Orchestra’s life: highlights of the 2013/14 season include visits to the USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall.

As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim.

He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.

In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras.

facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance.

London Philharmonic Orchestra | 5

John Mauceri conductor

John Mauceri’s distinguished and extraordinary career has taken him not only to the world’s greatest opera companies and symphony orchestras, but also to the musical stages of Broadway and Hollywood, as well as the most prestigious halls of academia. He has served as Music Director of four opera companies: Washington National Opera (Kennedy Center), Scottish Opera, Teatro Regio (Turin) and Pittsburgh Opera. He was the first American to hold the post of Music Director of an opera house in Great Britain and Italy, and was the first Music Director of the American Symphony Orchestra at Carnegie Hall after its founding director, Leopold Stokowski, with whom he studied. He was Consultant for Music Theatre at Washington’s Kennedy Center for the Performing Arts for more than a decade, and for 15 years he served on the faculty of Yale University. For 18 years he worked closely with Leonard Bernstein, and conducted many of the composer’s premieres at Bernstein’s request.

Since his professional conducting debut 40 years ago, John Mauceri has conducted many of the world’s greatest opera companies including the Teatro alla Scala, Milan; Deutsche Oper, Berlin; Metropolitan Opera, New York; Lyric Opera of Chicago; and San Francisco Opera. He has conducted over 75 of the world’s greatest orchestras including the New York Philharmonic, Chicago Symphony, Boston Symphony, Vienna Symphony and Israel Philharmonic orchestras; the Orchestre National de France; and the Accademia Nazionale di Santa Cecilia.

In London, John Mauceri has conducted three productions at English National Opera: The Force of Destiny, Madam Butterfly and Rigoletto, and three productions at the Royal Opera House: La bohème, Madam Butterfly and La fanciulla del West, having made his UK debut with Welsh National Opera (Don Carlos) followed by Scottish Opera (Otello). He has conducted the London Philharmonic and Royal Philharmonic orchestras, the BBC Symphony and BBC Concert orchestras, and the London Symphony Orchestra, with whom he has also recorded and broadcast concerts from the Royal Albert Hall.

6 | London Philharmonic Orchestra

On Broadway, he was co-producer of On Your Toes, and served as musical supervisor for Hal Prince’s production of Candide, as well as Andrew Lloyd Webber’s Song and Dance. He also conducted the orchestra for the film version of Evita. Among his many awards and honours are a Tony, a Grammy, a Billboard, an Olivier, two Diapason d’Or awards, four German Record Critics’ Awards and two Emmys.

John Mauceri holds the lifetime title of Founding Director of the Hollywood Bowl Orchestra, which was created for him in 1991 by the Los Angeles Philharmonic, and with whom he conducted over 300 concerts to a total audience of over 4 million people. Last month he conducted a world premiere concert of Danny Elfman’s music to a sold-out Royal Albert Hall. He has just returned from Los Angeles, where he and Elfman performed three sold-out nights at the Nokia Theatre.

John Mauceri has taken the lead in the preservation and performance of many genres of music, and has supervised and conducted important premieres by composers as diverse as Debussy, Stockhausen, Korngold, Hindemith, Bernstein, Ives, Danny Elfman and Howard Shore. He is a leading performer of music banned by the Third Reich, especially music of Hollywood’s émigré composers, and can be seen and heard on many DVD releases of classic films including The Adventures of Robin Hood (Korngold), El Cid (Rózsa), The Fall of the Roman Empire (Tiomkin), Sunset Boulevard (Waxman), Jezebel (Steiner) and West Side Story (Bernstein). John Mauceri writes for The Huffington Post and is a member of the Advisory Committee of the American Verdi Institute in New York City.

All of the pieces in tonight’s programme, with the exception of Waxman’s The Ride of the Cossacks, were arranged and edited by John Mauceri, using the original orchestral scores kept in various archives, and are receiving their London concert premieres.

Programme notes

Listening to Classical Music, 1960–1980 An introduction by conductor John Mauceri By 1960, the officially accepted language of classical music in Western Europe and the United States had been firmly established. This was the era in which Stravinsky had ‘switched’ to 12-tone music and Aaron Copland was about to reveal his dodecaphonic Connotations, commissioned by the New York Philharmonic for the opening of Lincoln Center in 1962—to an audience somewhat stunned at not hearing another Appalachian Spring. The young composers in the post-war Europe – Xenakis, Stockhausen and, above all, Pierre Boulez – had secured a position of leadership in representing the freedom of the West, supported by the United States in its cultural cold war with Soviet communism. Everything Stalin hated became what we, in the West, held as symbolic of the superiority of non-totalitarianism.

And while this simplistic system for evaluating art and style may seem odd today, orchestral music had by 1960 become split: good contemporary classical music was to be atonal—either totally controlled (‘serial’) or blissfully random (‘aleatoric’). Of the great living composers accepted as classical, only Benjamin Britten defiantly held up the beauty of tonality in his new opera, A Midsummer Night’s Dream. When the lovers awaken from their dream, each major triad is presented one after the other—all 12 of them orchestrated in differing colours, as if to say the nightmare is over and we can return to where it all started: the major triad.

The public was never fully accepting of the experiments, but the push toward a concept of modernism, or perhaps contemporary-ism, was strong. (Gerard Hoffnung’s glorious 1958 parody of serial music, Punkt Kontrapunk, performed at Royal Festival Hall, still has the sting of truth in it.) Composing this kind of music was fun, and amazing sounds were created. But another music was being written—and there was lots of it, with millions of people embracing it. It was the music composed for the cinema. Its composers were, without exception, as highly trained as the ‘others’, though there was the constant accusation that these were musical ‘hacks’ who stole music from the past.

They were, without exception, as miraculous as any Wunderkinder, having shown genius at an early age and having succeeded in perhaps the most difficult artistic environment imaginable: composing dramatic music

for many bosses, the ultimate one being the general public.

They were all well aware of the experiments that began before World War I, and made use of the ever-expanding possibilities that these experiments afforded. In addition, they were sensitive to the discoveries from the field known then as ethnomusicology as well as various popular musical forms, such as jazz.

Tonight’s concert could therefore be called ‘The Other Classical Music—The Rest is Beauty.’

Alex North Cleopatra Symphony* Arranged for concert performance by John Mauceri 1 Caesar and Cleopatra 2 Anthony and Cleopatra Alex North (1910–91) is a good first example. He was born in Pennsylvania of Russian-Jewish immigrants and studied at three of the world’s greatest conservatoires: the Curtis Institute, The Juilliard School, and the Moscow Conservatoire. And he loved jazz. His music to A Streetcar Named Desire (1951) is generally accepted as Hollywood’s first jazz score. Although he also composed symphonic works, he is only known today as a film composer. This can be seen as part of the marginalisation of Hollywood film composers from composers of serious concert works.

If a composer lived in Hollywood and wrote successful film scores, his concert music was generally considered irrelevant. (Aaron Copland, who lived in New York City, was something of an exception though his film output was small.) North’s score to Cleopatra (1961) is a masterpiece. Not only does it evoke an imaginary past through the careful use of modal scales and a brilliant orchestration using harps, bells, and exotic instruments, it also makes use of quarter-tone melodies (the murder of Caesar), polytonality (Cleopatra’s entrance into Rome), jazz, and an unabashed acceptance of melody when representing Cleopatra’s fatal charms and her sexual attraction to Anthony. The work presented tonight was commissioned by Anna North, the composer’s widow, and makes use of the original materials from 20th Century Fox.

London Philharmonic Orchestra | 7

Programme notes

Nino Rota The Godfather – A symphonic portrait* Arranged for concert performance by John Mauceri Italian music is fundamentally built on melody. The Italians, after all, invented opera in 1598. In a very real sense the melodic genius of Henry Mancini, Ennio Morricone and Nino Rota all derive from this tradition.

Nino Rota (1911–79) not only composed many great film scores; he was also the composer of 11 operas. His work with Federico Fellini in La Dolce Vita, La Strada and Amarcord secured his place in cinematic history, but it is his score to The Godfather – Parts I and II (1972 and 1974) that certainly constitute his greatest achievement.

The Godfather, operatic in its proportions and its passions, inspired a great and sombre score, one that could have been the melodic source of a grand opera.

What you will hear in tonight’s concert is a tone-poem created from Nino Rota’s original scores. It all begins in Sicily in 1901—the year Giuseppe Verdi died—when a little boy from the town of Corleone leaves for America.

Everyone surely knows the story that ends on the eve of the Cuban revolution in the late 1950s.

Franz Waxman The Ride of the Cossacks Franz Waxman (1906–67) was one of the founders of the ‘Hollywood Sound’, which could more accurately describe the sound of classical music as taught in the European and American conservatoires. Trained at Dresden’s Academy of Music and in Berlin, Waxman brought this heritage, as well as his love for American jazz, into an incredibly impressive and varied orchestral output that includes over 150 film scores as well as various concert works. By the 1960s his ‘older school’ was being replaced in Hollywood with the sounds of younger, American-born composers, but his The Ride of the Cossacks proves to be one of the most brilliant rides since the Valkyries first made their presence known a hundred years earlier. The melody comes from a book of historic Russian songs that Waxman found on a conducting tour in the Soviet Union in 1962.

Interval 20 minutes Bernard Herrmann Psycho – A narrative for string orchestra* Edited by John Mauceri

Marlon Brando in The Godfather, 1972 (© MARKA/Alamy)

8 | London Philharmonic Orchestra

Bernard Herrmann (1911–75) was born in New York City and, like Alex North, was the son of Russian-Jewish immigrants. Trained at The Juilliard School and New York University, he quickly rose in prominence, first in New York where he led the CBS Symphony Orchestra in national broadcasts of music by Ives and Schoenberg, and as a composer for Orson Welles’s Mercury Theater, but subsequently in Hollywood where he became most famous as a composer for Alfred Hitchcock. His 1960 score to Psycho makes use of serial techniques as applied to composing for string instruments, so that every manner of playing (pizzicato, muted or opened, crescendo/diminuendo, etc.) is part of the structure of the music. The short ‘cellular’ melodies are passed around the string orchestra and repeated in surprising patterns, as Stravinsky first did in his Rite of Spring (1913). In 1968, whilst living in London, Herrmann used various parts of this iconic film score and composed a new orchestral work that he recorded but never performed. In 1999, Mrs Herrmann kindly shared her late husband’s manuscripts

with conductor John Mauceri, and the world premiere took place in Los Angeles with the Hollywood Bowl Orchestra. Tonight’s concert marks the UK premiere of Herrmann’s Psycho: A narrative for string orchestra.

Branisław Kaper Mutiny on the Bounty* Edited for concert performance by John Mauceri 1 Theme from Mutiny on the Bounty 2 Portsmouth Harbour/Storm at Sea 3 Girls and Sailors 4 Christian’s Death Branisław Kaper (1902–83) was born in Warsaw and studied music at the conservatoire there. Like Waxman, he composed and performed in Berlin until the rise of the Nazis forced him to flee Europe. In Los Angeles, he was a beloved figure in a community of exiles. One of his last compositions, the massive score to the 1962 remake of Mutiny on the Bounty, is a good example of Kaper’s interest in mixing exotic and ethnic music within the framework of a post-Mahlerian tonal language.

or were being passed over. However, once John Williams was asked to compose music in the style of Erich Korngold, Franz Waxman and the others of a former generation for the 1977 Star Wars—and that score was generally credited for the overwhelming success in that film—a younger generation of composers began another golden age of orchestral composition.

Representing this younger generation is Jerry Goldsmith (1929–2004), who was born in California and began playing the piano at the age of six. His studies included composition lessons with the legendary Miklós Rózsa.

Goldsmith’s work in the cinema is equally legendary, including the 1968 atonal score to Planet of the Apes. In 1979 he composed the magnificent music to Star Trek – The Motion Picture. The work on this programme, called The New Enterprise, was commissioned by Mrs Carol Goldsmith and represents one of the composer’s major challenges: to write an extended series of variations to accompany an eight-minute journey of discovery to view the refitted starship by the newly promoted Admiral Kirk.

By 1980 the possibility for young composers to write music that continued the traditions of tonal orchestral writing in an ever-expanding language attracted many who did not wish to follow the ‘other’ classical music.

Today, many of these composers come to this field from rock and roll (including Howard Shore and Danny Elfman). This music, generally derided or ignored at universities, and traditonally excluded from public performance, nonetheless represents the most heard orchestral music in history.

Programme notes © John Mauceri * First London performance

Mutiny on the Bounty, 1962 (© Photos 12/Alamy)

Jerry Goldsmith Star Trek – The New Enterprise* Edited for concert performance by John Mauceri By the 1970s, many of the composers of Hollywood’s first golden age of composition had either passed away

New for 2013/14 – LPO mini film guides This season we’ve produced a series of short films introducing the pieces we’re performing. We’ve picked one work from each concert and created a bite-sized introduction to the music and its historical background.

Watch our Education & Community Director Patrick Bailey introduce Bernard Herrmann’s score to Psycho: lpo.org.uk/explore/videos.html

London Philharmonic Orchestra | 9

Catalyst: Double Your Donation

The London Philharmonic Orchestra is building its first ever endowment fund, which will support the most exciting artistic collaborations with its partner venues here in London and around the country.

Thanks to a generous grant pledge from Arts Council England’s Catalyst programme, the Orchestra is able to double the value of all gifts from new donors up to a maximum value of £1 million. Any additional gifts from existing generous donors will also be matched.

By the end of the campaign we aim to have created an endowment with a value of £2 million which will help us work with partners to provide a funding injection for activities across the many areas of the Orchestra’s work, including: • More visionary artistic projects like The Rest Is Noise at Southbank Centre • Educational and outreach activities for young Londoners like this year’s Noye’s Fludde performance project • Increased touring to venues around the UK that might not otherwise have access to great orchestral music To give, call Development Director Nick Jackman on 020 7840 4211, email support@lpo.org.uk or visit www.lpo.org.uk/support/double-your-donation.html

Catalyst Endowment Donors Masur Circle Arts Council England Emmanuel & Barrie Roman The Sharp Family The Underwood Trust Welser-Möst Circle John Ireland Charitable Trust Tennstedt Circle Simon Robey The late Mr K Twyman Solti Patrons Anonymous Suzanne Goodman The Rothschild Foundation Manon Williams & John Antoniazzi Haitink Patrons Moya Greene Tony and Susie Hayes Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Sir Bernard Rix TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker

10 | London Philharmonic Orchestra

Pritchard Donors Anonymous Lady Jane Berrill Linda Blackstone Michael Blackstone Jan Bonduelle Richard Brass Britten-Pears Foundation Lady June Chichester Lindka Cierach Mr Alistair Corbett Mark Damazer David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust John Hunter Ivan Hurry Tanya Kornilova Howard & Marilyn Levene Mr Gerald Levin Geoff & Meg Mann

Ulrike Mansel Marsh Christian Trust John Montgomery Rosemary Morgan John Owen Edmund Pirouet Mr Michael Posen John Priestland Ruth Rattenbury Tim Slorick Howard Snell Stanley Stecker Lady Marina Vaizey Helen Walker Laurence Watt Des & Maggie Whitelock Victoria Yanakova Mr Anthony Yolland

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

Commander Vincent Evans Mr Daniel Goldstein Don Kelly & Ann Wood Peter MacDonald Eggers Mr & Mrs David Malpas Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Anthony Yolland Benefactors Mrs A Beare Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett William and Alex de Winton Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry Malcolm Herring Ivan Hurry Mr Glenn Hurstfield

Mr R K Jeha Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Andrew T Mills John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Professor John Studd Mr Peter Tausig Mrs Kazue Turner Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members

Trusts and Foundations

Silver: AREVA UK British American Business Carter Ruck Thomas Eggar LLP

Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Embassy of Spain, Office for Cultural and Scientific Affairs The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust Marsh Christian Trust

Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets

The Mayor of London’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The Ann and Frederick O’Brien Charitable Trust Palazzetto Bru Zane – Centre de musique romantique française PRS for Music Foundation The R K Charitable Trust Serge Rachmaninoff Foundation The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust Sir Siegmund Warburg’s Voluntary Settlement Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous London Philharmonic Orchestra | 11

Administration

Board of Directors Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams * Player-Director Advisory Council Victoria Sharp Chairman Christopher Aldren Richard Brass Sir Alan Collins KCVO CMG Lord David Curry Andrew Davenport Jonathan Dawson Christopher Fraser OBE Lord Hall of Birkenhead CBE Clive Marks OBE FCA Stewart McIlwham Baroness Shackleton Lord Sharman of Redlynch OBE Martin Southgate Sir Philip Thomas 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 Peter M. Felix CBE 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 Sharp Hon. Director

Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Orchestra Personnel

Public Relations

Andrew Chenery Orchestra Personnel Manager

Albion Media (Tel: 020 3077 4930)

Chief Executive

Sarah Thomas Librarian (maternity leave)

Archives

Timothy Walker AM Chief Executive and Artistic Director

Sarah Holmes Librarian (maternity cover)

Philip Stuart Discographer

Finance

Christopher Alderton Stage Manager

Gillian Pole Recordings Archive

Brian Hart Transport Manager

Professional Services

David Burke General Manager and Finance Director David Greenslade Finance and IT Manager

Julia Boon Assistant Orchestra Personnel Manager

Concert Management

Development

Roanna Gibson Concerts Director

Nick Jackman Development Director

Graham Wood Concerts and Recordings Manager

Helen Searl Corporate Relations Manager

Jenny Chadwick Tours Manager Tamzin Aitken Glyndebourne and UK Engagements Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter PA to the Chief Executive / Tours Co-ordinator Matthew Freeman Recordings Consultant Education and Community Patrick Bailey Education and Community Director Alexandra Clarke Education and Community Project Manager Lucy Duffy Education and Community Project Manager Richard Mallett Education and Community Producer

12 | London Philharmonic Orchestra

Katherine Hattersley Charitable Giving Manager Melissa Van Emden Events Manager Sarah Fletcher Development and Finance Officer Rebecca Fogg Development Assistant

Charles Russell Solicitors Crowe Clark Whitehill LLP Auditors Dr Louise Miller Honorary Doctor London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Marketing

Front cover photograph © Patrick Harrison.

Kath Trout Marketing Director

Printed by Cantate.

Mia Roberts Marketing Manager Rachel Williams Publications Manager Samantha Kendall Box Office Manager (Tel: 020 7840 4242) Libby Northcote-Green Marketing Co-ordinator Lily Oram Intern Digital Projects Alison Atkinson Digital Projects Manager