CONCERT PROGRAMME
2018/19 CONCERT SEASON
AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL
2019/20 concert season at Southbank Centre
CONCERT PROGRAMME
Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI Principal Conductor Designate EDWARD GARDNER supported by Mrs Christina Lang Assael Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER CBE AM Chief Executive Designate DAVID BURKE
Southbank Centre’s Royal Festival Hall Friday 14 February 2020 | 7.30pm
Humperdinck Prelude, Hansel and Gretel (7’) Ravel Pavane pour une infante défunte (6’) Ravel Piano Concerto in G major (21’) Interval (20’) Saint-Saëns Symphony No. 3 in C minor, Op. 78 (Organ) (34’)
Emmanuel Krivine conductor Jean-Efflam Bavouzet piano Catherine Edwards organ
The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Emmanuel Krivine 7 Jean-Efflam Bavouzet 8 Catherine Edwards 9 Programme notes 13 Recommended recordings 14 New on the LPO Label 15 Wagner Ring Cycle 2021 16 LPO Annual Appeal 2019/20 17 Sound Futures donors 18 Supporters 20 LPO administration
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 a member of staff for assistance. Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location. Explore across the site with Foyles, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Spiritland, Honest Burger, Côte Brasserie, Skylon and Topolski. 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 us on 020 3879 9555, 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 AND WATCHES should be switched off before the performance begins.
Orchestra news
New this month on the LPO Label Released on 28 February is a disc of works by living Polish composer Krzysztof Penderecki: the first release of his music on the LPO Label. It includes the Horn Concerto with soloist Radovan Vlatković, the Adagio for Strings and Threnody for the Victims of Hiroshima, all conducted by the composer live at Royal Festival Hall in 2015; and the Violin Concerto with soloist Barnabás Kelemen, conducted by Michał Dworzyński live at Royal Festival Hall in 2013. The disc is priced £9.99 (catalogue no. LPO-0116). All 100+ recordings on our label are available to buy from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets, as well as available to download or stream online via Spotify, Apple Music, Primephonic, Idagio and others. Glyndebourne Opera Cup 2020 As Resident Symphony Orchestra of Glyndebourne Festival Opera, the LPO has been invited to accompany the final of the prestigious Glyndebourne Opera Cup on Saturday 7 March, which will also be broadcast live on Sky Arts. The competition is open to all singers under the age of 21 and offers a top prize of £15,000 and a guaranteed role at a leading international opera house. Preliminary rounds took place in Cape Town, Berlin, London, Milan, Paris, Vienna and New York, and the six finalists and their chosen repertoire will be confirmed after the semi-final on Wednesday 4 March. The winner will be selected by an international jury chaired by Glyndebourne’s Artistic Director Stephen Langridge. glyndebourne.com/operacup
LPO 2020/21 season launch Out now The Spring 2020 edition of our free LPO magazine, Tune In. Copies are available at the Welcome Desk, Level 2, Royal Festival Hall, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic
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Booking for our 2020/21 season will open on Tuesday 3 March 2020 online and via the LPO Ticket Office. To take advantage of priority booking (from Tuesday 25 February), become a Friend of the London Philharmonic Orchestra for as little as £60 a year. Call Izzy Keig on 020 7840 4225 or visit lpo.org.uk/support/memberships
On stage tonight
First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich
Katalin Varnagy Chair supported by Sonja Drexler
Catherine Craig Thomas Eisner Chair supported by the Chiltern Friends of the LPO
Martin Höhmann Robert Pool Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett
Tina Gruenberg Grace Lee Morane Cohen-Lamberger Rebecca Shorrock Amanda Smith Georgina Leo Eleanor Bartlett Nilufar Alimaksumova Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Emma Oldfield Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley
Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Helena Nicholls Sioni Williams Mathilde Gheorghiu Alison Strange
Violas David Quiggle Principal Richard Waters Co-Principal Robert Duncan Katharine Leek Susanne Martens
Piccolo Stewart McIlwham* Principal
Trombones David Whitehouse Principal Duncan Wilson
Oboes Ian Hardwick* Principal Alice Munday
Bass Trombone Lyndon Meredith Principal
Chair supported by Gill & Garf Collins
Laura Vallejo Naomi Holt Alistair Scahill Stranislav Popov Daniel Cornford Martin Wray Richard Cookson
Cor Anglais Sue Böhling* Principal
Cellos Kristina Blaumane Principal
Thomas Watmough
Chair supported by Bianca & Stuart Roden
Jean Kim Francis Bucknall Laura Donoghue Gregory Walmsley Elisabeth Wiklander Sue Sutherley Tom Roff Helen Rathbone George Hoult
Chair supported by Dr Barry Grimaldi
Percussion Andrew Barclay* Principal
Bass Clarinet James Maltby
Chair supported by Andrew Davenport
Henry Baldwin Co-Principal Keith Millar
E-flat Clarinet Thomas Watmough Principal Chair supported by Roger Greenwood
Bassoons Gareth Newman Principal Emma Harding
Flutes Sue Thomas* Principal
Trumpets Paul Beniston* Principal
Clare Childs Stewart McIlwham*
Chair supported by Victoria Robey OBE
Chair supported by Friends of the Orchestra
Contrabassoon Simon Estell* Principal
Chair supported by Caroline, Jamie & Zander Sharp
Timpani Simon Carrington* Principal
Clarinets Benjamin Mellefont Principal
Double Basses Kevin Rundell* Principal Hugh Kluger George Peniston Laura Murphy Charlotte Kerbegian Lowri Morgan Adam Wynter Laurence Lovelle
Tuba Lee Tsarmaklis* Principal
Harp Rachel Masters Principal Piano Clíodna Shanahan Cecilia Coullet * Holds a professorial appointment in London
Horns John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Oliver Johnson
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert:
Chair supported by Donors to the 2019 Gala Player Appeal
James Fountain* Principal Anne McAneney*
The Candide Trust William & Alex de Winton Sir Simon Robey
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London Philharmonic Orchestra
The London Philharmonic is playing at the peak of its form. Richard Fairman, The Financial Times (27 September 2019: Vladimir Jurowski conducts Knussen, Britten & Tchaikovsky at Royal Festival Hall)
One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2017 Vladimir Jurowski celebrated his tenth anniversary as the Orchestra’s Principal Conductor. Edward Gardner is currently Principal Conductor Designate, and will take up the position when Jurowski’s tenure concludes in September 2021. 4 | London Philharmonic Orchestra
The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2019 we celebrated the music of Britain in our festival Isle of Noises, exploring music from and inspired by the British Isles, from Purcell to the present day. This year’s focus is our 2020 Vision series, which features some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier. The London Philharmonic Orchestra enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sellout audiences worldwide.
Pieter Schoeman leader
In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. 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. We recently celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Our dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra
Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega
The London Philharmonic Orchestra has recorded many blockbuster film scores, 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 100 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 4 conducted by Vladimir Jurowski, Mozart chamber works with LPO Principal players, and Ravi Shankar’s only opera, Sukanya (see page 14).
Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. 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 appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO 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. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. 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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Emmanuel Krivine conductor
Krivine has a Gallic classicist’s ear for clarity, balance, precision and colour. His conducting exudes courtly poise and Old World elegance; temperament is there but it is tempered by control. © Fabrice Dell’Anese
The Chicago Tribune
Emmanuel Krivine is respected as one of the world’s most distinguished conductors, whose elegant and colourful interpretations have made him a favourite with leading orchestras and soloists around the world. Regarded as one of today’s foremost French musicians, Krivine has held a number of important positions in France, and since September 2017 has been Music Director of the Orchestre National de France – the first French postholder in over 40 years. Emmanuel Krivine has conducted the world’s finest orchestras including the Berlin Philharmonic, Royal Concertgebouw and London Symphony orchestras, the Gewandhausorchester Leipzig, and the TonhalleOrchester Zürich. He has worked with the Sydney, Melbourne and NHK Symphony orchestras and, in North America, with the Cleveland, Philadelphia, Boston Symphony, Chicago Symphony, National Symphony and Los Angeles Philharmonic orchestras. A passion for working with chamber orchestras has led to tours with the Chamber Orchestra of Europe and the Mahler Chamber Orchestra, and he took up the post of Principal Guest Conductor of the Scottish Chamber Orchestra in 2015. Krivine and the Orchestre National de France recently marked the 100th anniversary of the death of Claude Debussy with concerts around France and Switzerland including at the Festival de Pâques, Aix-en-Provence, the Settimane Musicali di Ascona and Les Grands Interprètes Toulouse. In May 2018 their recording of La Mer and Images was released. 2019/20 marks Krivine’s third season as Music Director of the Orchestre National de France, during which he will work with top soloists including Evgeny Kissin, Renaud Capuçon and Julia Fischer.
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Krivine is a passionate educator who regularly conducts orchestras of young musicians, and in 2004 he created a period-instrument ensemble, La Chambre Philharmonique, recognised as one of the most important groups of its kind, which has gained recognition with its award-winning recordings on Naïve. These included most recently a complete set of Beethoven symphonies, awarded Editor’s Choice by Gramophone. Krivine’s discography also includes recordings with the Orchestre Philharmonique du Luxembourg, the Chamber Orchestra of Europe with Maria João Pires, the London Symphony Orchestra with Vadim Repin, and the Orchestre National de Lyon, on labels including Deutsche Grammophon, Erato and Naïve. Emmanuel Krivine was born in Grenoble, from Russian descent through his father and Polish through his mother, and began his career as a violinist. He was awarded the Premier Prix of the Paris Conservatoire at the age of 16 and became a scholar at the Chapelle Musicale Reine Elisabeth in Belgium, studying with Henryk Szeryng and Yehudi Menuhin, and winning many prestigious awards. After a decisive meeting with Karl Böhm in 1965, he increasingly devoted himself to conducting. He was Principal Guest Conductor of the Orchestre Philharmonique de Radio France from 1976–83, and then became Music Director of the Orchestre National de Lyon from 1987–2000. He also served as Music Director of the Orchestre Français des Jeunes for 11 years between 1984–2004, as Music Director of the Orchestre Philharmonique du Luxembourg from 2006–14, and, more recently, as Principal Guest Conductor of the Barcelona Symphony Orchestra.
Jean-Efflam Bavouzet piano
He makes you listen to music as if you are discovering it Eureka!-style: yes, that’s what the composer must have meant. © Benjamin Ealovega
The Financial Times
Award-winning pianist Jean-Efflam Bavouzet enjoys a prolific recording and international concert career. He regularly works with orchestras including the London Philharmonic, BBC Symphony, San Francisco Symphony, NHK Symphony and Cleveland orchestras, and collaborates with conductors including Vladimir Jurowski, Edward Gardner, Vladimir Ashkenazy, Gianandrea Noseda, François-Xavier Roth, Nicholas Collon, Gábor Takács-Nagy and Andrew Davis, among others. Highlights of Jean-Efflam Bavouzet’s 2019/20 season include concerts with the Orchestre National de France and the Budapest Festival Orchestra, a UK tour with the Iceland Symphony Orchestra under Yan Pascal Tortelier, and Beethoven’s complete piano concertos with the Orchestre National de Lyon. He returns to the Toronto and Seattle symphonies and the Royal Scottish National Orchestra, and embarks on a tour of Australia including concerts with the Sydney, Melbourne and Adelaide symphony orchestras. He will also play/direct two Beethoven programmes with both the Swedish Chamber Orchestra and the São Paulo Symphony Orchestra. As part of the Post Classical Ensemble’s Haydn Festival in Washington DC, Bavouzet will appear in recital and as concerto soloist, and will also give recitals at the Maestro Foundation in Santa Monica and at the Moscow International Performing Arts Center. Recent performances include New York’s Lincoln Center with the London Philharmonic Orchestra under Edward Gardner; the Philharmonie de Paris with the Orchestre Philharmonique de Monte-Carlo; the BBC Proms with the BBC Philharmonic Orchestra and Nicholas Collon; and Les Siécles with François-Xavier Roth. In summer 2019 he appeared at the Verbier Festival, collaborating
with artists such as Daniel Hope and Thomas Hampson, and at the Ravello Festival, where he play/directed the Cherubini Orchestra. Bavouzet records exclusively for Chandos, and his recording of Grieg’s Piano Concerto with the Bergen Philharmonic Orchestra under Edward Gardner was nominated for a Gramophone Award. Ongoing cycles include a five-year project to perform and record the complete Mozart Piano Concertos with the Manchester Camerata and Gábor Takács-Nagy, as well as the complete Haydn Piano Sonatas. His complete Prokofiev Piano Concertos series with the BBC Philharmonic and Gianandrea Noseda won the Concerto category of the 2014 Gramophone Awards. Other recordings include Bartók’s Piano Concertos with the BBC Philharmonic and Noseda, and Stravinsky’s Complete Works for Piano and Orchestra with the Orquestra Sinfônica do Estado de São Paulo and Yan Pascal Tortelier. Also with Tortelier, Bavouzet’s recording of the Ravel Piano Concertos with the BBC Symphony Orchestra won both Gramophone and BBC Music Magazine awards. Bavouzet’s recordings have garnered other Gramophone Awards and BBC Music Magazine Awards, a Diapason d’Or and a Choc de l’année. Bavouzet has worked closely with Pierre Boulez, Karlheinz Stockhausen, György Kurtág, Maurice Ohana and Bruno Mantovani, and is also a champion of lesserknown French music, notably that of Gabriel Pierné and Albéric Magnard. He is the International Chair in Piano at the Royal Northern College of Music. In 2012 he was ICMA Artist of the Year and in 2008 he was awarded Beijing’s first ever Elite Prize for his Beethoven complete sonata series.
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Catherine Edwards
© Michele Frank
organ
Catherine Edwards pursues a varied career as pianist and organist, performing, broadcasting and recording as a chamber pianist, accompanist, orchestral musician and soloist. She is the principal keyboard player with the London Philharmonic Orchestra and the City of London Sinfonia, and plays regularly with the London Symphony Orchestra, with whom she has appeared as soloist on several occasions.
Catherine’s chamber music experience with groups such as Capricorn, the Nash Ensemble, Endymion and Composers’ Ensembles includes standard and contemporary repertoire and she has worked closely with composers such as Boulez, Berio, Steve Reich and John Adams. Solo performances include recordings and appearances in London’s concert halls, as well as at the BBC Proms and in international festivals.
More organ highlights this season Wednesday 29 April 2020 Southbank Centre’s Royal Festival Hall Ravel La valse Gibbons Pavan in G minor Nico Muhly Register (Organ Concerto) (European premiere) Fauré Pavane Saint-Saëns Symphony No. 3 (Organ) Yan Pascal Tortelier conductor James McVinnie organ
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Programme notes
Speedread A French sensibility informs the major part of tonight’s concert, consisting of a certain concern for sophistication and poise, with emotions undeniably present but either veiled or held in check. Saint-Saëns described his ideal music as ‘elegant lines, harmonious colours and a pleasing succession of harmonies’, and no-one would doubt that his Third Symphony, with its famous organ part, demonstrates
Engelbert Humperdinck
those characteristics with magnificent aplomb. Nor could it be denied that Ravel’s ever-popular Pavane pour une infante défunte or his sparkling Piano Concerto represent further refinements of the ideal by one of music’s most meticulous and exquisite craftsmen. The concert opens, however, with a breath of air wafted from somewhere deep in the great German forestlands.
Prelude, Hansel and Gretel
1854–1921
The traditional status in Germany of Humperdinck’s opera Hansel and Gretel as a Christmas piece no doubt owes much to the fact that its premiere (conducted by Richard Strauss at the Munich Opera) took place on 23 December 1893. Having originated three years earlier in a request from Humperdinck’s sister to set four folk-songs from the Grimm brothers’ well-known – if somewhat gruesome – story for performance at home by her children, it had quickly expanded first into a small-scale domestic opera with spoken dialogue, and thence to a full-blown professional opera in three acts. Like other works in the Germanic fairytale opera (or Märchenoper) tradition, it is not specifically written for a child audience, but does evoke an innocence of atmosphere and a kinship with the worlds of folksong and nature. At the same time, it bears the marks of its age in the Wagnerian richness of its musical development and orchestral colourings.
The Prelude, which Humperdinck characterised as ‘Children’s Life’, demonstrates these elements with dance tunes both urbane and toylike. These are intertwined with references to the solemn ‘Evening Hymn’ melody heard at the very opening, which will make strategically-placed appearances throughout the opera to suggest the protective influence of divine providence. Sadly, the audience at the premiere was denied the pleasure of this charming and skilfully-made overture: it was not performed on that occasion, as the orchestral parts had not yet arrived.
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Programme notes continued
Maurice Ravel
Pavane pour une infante défunte
1875–1937
‘Don’t forget that it’s a pavane for a dead infanta, not a dead pavane for an infanta.’ Ravel’s warning to performers not to take his famous miniature too slowly is backed up by a further remark that ‘it’s not a funeral lament for an infanta who’s just died, but conjures up a pavane the little princess might have danced, once upon a time, at the Spanish court’. A reserved but genuine emotional presence, a decent waft of musical nostalgia and an affinity with children – these are classic Ravel traits, immaculately exhibited as early in his composing career as 1899, when he was 24 and still a student of Gabriel Fauré at the Paris Conservatoire. Ravel wrote the Pavane as a piano piece, and it was premiered as such in 1902. Success was immediate, giving it a lasting prominence in his output that would later irritate him in the light of what he considered to be its youthful failings, which included in his view an
over-reliance on the style of Chabrier. No doubt those interpretative misunderstandings irked him too; he later said he had chosen the title for the pure sound of it, and one wonders how the piece might have fared had he simply called it ‘Pavane’, as he did in other evocations of 17th- and 18th-century dances such as the earlier Menuet antique or much later suite Le tombeau de Couperin. Whatever the case, he did not mind making an orchestral transcription of the Pavane in 1910, and it is chiefly in this version that it has become so well-loved. The orchestra is a small one, but handled with typical skill and delicacy by Ravel, each exquisite colouring being used both tellingly and sparingly, from the main melody’s wistful presentation by a solo horn over plucked strings at the beginning to its full-orchestral, harp-glinted apotheosis at the end.
Maurice Ravel
Piano Concerto in G major
Ravel composed two piano concertos, both at the same time. They make a fascinating pair, one the darkly romantic D major Concerto for the Left Hand, and the other this glittering work in G major, described by the composer as ‘a concerto in the strict sense, written in the spirit of Mozart and Saint-Saëns’. The G major Concerto was begun in the summer of 1929
while Ravel was staying in the Basque country, but the commission for the D major from the one-armed pianist Paul Wittgenstein supervened, and it was not until November 1931 that the ‘first’ Concerto was finished. Ravel had originally told his pupil Marguerite Long that it was for her, but somewhere along the line he changed his mind and decided that he wanted to perform it
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Jean-Efflam Bavouzet piano 1 Allegramente 2 Adagio assai 3 Presto
himself. He was not, however, a great pianist – despite the extreme difficulty of some of his piano music – and although he entered into a rigorous practice regime, concerned friends eventually persuaded him to let Long give the premiere after all. Given at an all-Ravel concert in Paris in January 1932 (with the composer now conducting), it was hailed as a triumph of French art, and immediately taken on a four-month European tour. According to one of Ravel’s friends, the outer movements were based on ideas from a projected concerto on Basque themes he had begun back in 1911. Ravel’s mother was a Basque, and Spanish music was always a prominent strain in his music, but such popular elements as exist in the G major Concerto are only part of an eclectic mix of readily apparent
influences, among them jazz (Ravel had recently visited America, where he had met Gershwin), music-hall, Scarlatti, Mozart, and Stravinskian Neoclassicism. The end result is a work which is often detached in its cool sophistication and humour, but which at times reaches out to the listener with an emotion that is both powerful and direct. This expressiveness is at its most exquisite in the hauntingly beautiful central slow movement, described by Long as ‘one of the most touching melodies to have come from the human heart’. The movement is framed by two brilliant companions, the first a breezy creation based on a succession of themes from both the Spanish and American camps, and the finale a witty rondo whose playfulness and irreverent comedy bring the work to a close in fairground mood.
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
More Ravel this spring Saturday 22 February 2020 Southbank Centre’s Royal Festival Hall
Jörg Widmann Lied for Orchestra Ravel Shéhérazade Beethoven Symphony No. 3 (Eroica) Dima Slobodeniouk conductor Christine Rice mezzo-soprano* London Philharmonic Orchestra *Please note change of artist to previously advertised.
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Programme notes continued
Camille Saint-Saëns 1835–1921
The symphony as a genre was never as central to French music as it was to Austro-German. Though the roots went back just as far, the only French symphonies of lasting note to have emerged in the 19th century were Berlioz’s Symphonie fantastique of 1830, Franck’s Symphony in D minor of 1888, and Saint-Saëns’s popular ‘Organ’ Symphony of 1886. Although in their own ways distinctively French, all three owed much to the central European tradition: in the case of the Saint-Saëns, a prominent part for rich organ colourings straight out of the French tradition takes its place in a work belonging to the Classicalised, emotionally poised stream of a composer such as Mendelssohn, in which compositional polish is a major factor. Saint-Saëns had the latter in abundance. One of the 19th century’s most naturally gifted musicians, he once remarked that ‘I live in music like a fish in water’, and the design and execution of the Third Symphony is indeed masterly. It is no surprise that it was for England – where Mendelssohn’s fluently-crafted music had long been hugely popular and Saint-Saëns’s was fast becoming so – that it was composed for a commission from the Philharmonic Society in 1886. Saint-Saëns himself conducted the premiere on 19 May 1887 at London’s main concert venue, St James’s Hall, just in the angle between Piccadilly and Regent Street. Saint-Saëns’s musical fluency and later disaffection with the likes of Debussy and Stravinsky (he was at the premiere of The Rite of Spring but hated it) should not, however, be confused with laziness or reactionism. In fact he had an enquiring mind that interested itself not only in 18th-century music – in this respect he was a relative rarity, and a progressive one at that – but also in the most recent developments in European music. He was at Bayreuth in 1876 for the premiere of the Ring and was appreciative of Wagner’s music,
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Symphony No. 3 in C minor, Op. 78 (Organ) Catherine Edwards organ 1 Adagio – Allegro moderato – Poco adagio 2 Allegro moderato – Presto – Maestoso – Allegro
if less so of his personality; and he was a firm friend and admirer of Franz Liszt. Liszt died the same year that Saint-Saëns was working on the Third Symphony, which on publication carried a dedication to the great piano virtuoso and musical modernist’s memory. The work itself owes a musical debt to Liszt in its employment of one of that composer’s most influential compositional legacies: thematic transformation. Liszt had employed the device – in which a single theme undergoes alterations in presentation and character – as a way of giving narrative and expressive shape to his orchestral tone-poems, and from the 1870s onwards Saint-Saëns began to adopt it in some of his own orchestral scores. In the Third Symphony he made it into a tool by which a multi-movement, abstract composition could be given cohesion over its entire span. Holistic thinking such as this may be responsible for the Symphony’s radical-looking two-movement plan, though in fact the overall shape is more like one of four traditional movements linked into pairs, with a slow introduction. The theme on which the work is built is first heard in the chuntering string semiquavers of the ‘first’ movement’s main section, but already in the hushed introduction the woodwinds have presented us with an upward four-note bite from it that will have a prominence of its own, and as the music progresses, other borrowed motifs are dotted through its fabric with consummate skill. The bustling energy of this ‘first’ movement is not allowed to reach its logical conclusion, but instead – in a case of what the composer called ‘arrested development’ – subsides into the ‘second’, a luscious Adagio, ‘religiose’ in tone, in which the organ makes its first, quietly benedictory contribution. The yearning theme here is not closely related to the Symphony’s main one, which instead is held back for a stalking re-appearance in the lower strings that
subsequently transmogrifies into an accompaniment to the yearning theme’s elevated reprise. The ‘third’ movement is a bustling scherzo, with the Symphony’s main theme clearly heard chattering away in the high woodwinds. A middle section changes the tune, but increases the energy rather than reducing it, urged on by lightning-quick scales from a rare visitor to the 19th-century orchestral family: a piano. Again, though, the movement does not reach its end, but diverts into the stirrings of a fugue based on the main theme in long notes. This then drifts to silence, before a convulsive organ chord unleashes the finale, a dazzling free fantasia based on that same theme, now doing double duty as fugue subject and broad-arched chant. Maybe in the end this Symphony does not have the depth to qualify Saint-Saëns as the ‘French Beethoven’ Gounod declared him to be after hearing this piece, but there is no doubting its brilliance and ingenuity.
Recommended recordings of tonight’s works by Laurie Watt Humperdinck: Prelude, Hansel and Gretel Berlin Radio Symphony Orchestra | Marek Janowski (Pentatone) Ravel: Pavane pour une infante défunte Orchestre de Paris | Charles Munch (Warner) Ravel: Piano Concerto in G major Jean-Efflam Bavouzet | BBC Symphony Orchestra Yan Pascal Tortelier (Chandos) Saint-Saëns: Symphony No. 3 (Organ) James O’Donnell | London Philharmonic Orchestra Yannick Nézet-Séguin (LPO Label LPO-0081: see below)
Programme notes © Lindsay Kemp
Saint-Saëns’s ‘Organ’ Symphony on the LPO Label Saint-Saëns Symphony No. 3 in C minor (Organ) Poulenc Organ Concerto Yannick Nézet-Séguin conductor James O’Donnell organ London Philharmonic Orchestra £9.99 | LPO-0081 Recorded live at Southbank Centre’s Royal Festival Hall on 26 March 2014.
‘The LPO excels in the Saint-Saëns: plenty of verve and passion in equal measure, rightly rewarded by a rapturous response from the audience at the end.’ Choir & Organ, January/February 2015
100+ recordings available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Spotify, Apple Music, Primephonic, Idagio and others.
London Philharmonic Orchestra | 13
£9.99 | LPO-0113
£10.99 | LPO-0114
Recent releases on the LPO Label
Mahler
Mozart
Symphony No. 4
Flute Concerto No. 2 Sinfonia Concertante for Four Winds Bassoon Concerto
Vladimir Jurowski conductor Sofia Fomina soprano £9.99 | LPO-0113 Released July 2019
Vladimir Jurowski conductor Juliette Bausor flute | Jonathan Davies bassoon Ian Hardwick oboe | John Ryan horn Thomas Watmough clarinet £9.99 | LPO-0114 Released November 2019
Ravi Shankar Sukanya David Murphy conductor Recorded live at Southbank Centre’s Royal Festival Hall on 19 May 2017.
£14.99 (2 CDs) | LPO-0115 Released January 2020
New
CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Primephonic, Spotify, Apple Music, Idagio and others.
14 | London Philharmonic Orchestra
WAGNER’s complete Ring Cycle with Vladimir Jurowski January/February 2021
Join us as we reach the end of a remarkable three-year journey with two star-studded semi-staged complete Ring Cycles at Southbank Centre’s Royal Festival Hall. Ring Cycle 1 Das Rheingold Die Walküre Siegfried Götterdämmerung Ring Cycle 2 Das Rheingold Die Walküre Siegfried Götterdämmerung
Mon 25 Jan 2021 Wed 27 Jan 2021 Fri 29 Jan 2021 Sun 31 Jan 2021
7.00pm 5.00pm 4.00pm 3.00pm
‘Next year’s complete cycle promises to be an orchestral miracle.’ David Nice, The Arts Desk (Review of Wagner’s Siegfried, Feb 2020)
Fri 5 Feb 2021 Sat 6 Feb 2021 Mon 8 Feb 2021 Wed 10 Feb 2021
7.00pm 4.00pm 4.00pm 3.00pm
On sale now For full cast information and booking, visit lpo.org.uk/ringcycle or call the LPO Ticket Office on 020 7840 4242. Support us as we realise this bold project and enjoy an enhanced concert experience. Include an add-on donation with your order. Visit lpo.org.uk/ringcycle or call 020 7840 4212 for more details.
London Philharmonic Orchestra | 15
COME BEHIND THE SCENES
You know the London Philharmonic Orchestra for our UK concerts, our international tours, the residency at Glyndebourne, our education work and music recordings... BUT BEHIND THE WORK THAT YOU DO SEE IS A WORLD OF WORK THAT YOU DON’T. DURING OUR INCREDIBLY AMBITIOUS 2019/20 SEASON ...
2277 To deliver 20 concert performances on tour, 2277 hotel rooms will be booked.
135
To support our Young Talent schemes, LPO members will deliver 234 hours of mentoring.
7500
The LPO Library will produce an average of 65 folders of music for every concert.
560
For a single performance of Mahler’s Symphony No. 2, 3440 pages of music will be ordered – and that’s just the chorus parts.
234
Performing 54 operas at Glyndebourne will require the coordination of 135 hours of ensemble rehearsals.
65
3440
The LPO Ticket Office will process over 7500 tickets for primary school children to experience a live orchestral concert.
To record key performances, more than 560 participation forms will be prepared.
24
Approximately 24 hours of raw footage will be shot, edited and crafted into content for our digital platforms.
4x2
4 TONNES
For every rehearsal and every concert, the on-the-road team will load and unload over four tonnes of instruments and flight cases … twice.
SUPPORT THE UNSEEN WORK OF THE ORCHESTRA
LPO.ORG.UK/DONATE
Sound Futures donors
We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust
The Rothschild Foundation Tom & Phillis Sharpe The Viney Family
Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar
Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous
London Philharmonic Orchestra | 17
Thank you
We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle Anonymous donors Mrs Aline Foriel-Destezet Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Mrs Christina Lang Assael Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Associates An anonymous donor Steven M. Berzin Kay Bryan William & Alex de Winton Hamish & Sophie Forsyth Mrs Irina Gofman Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons An anonymous donor David & Yi Buckley In memory of Allner Mavis Channing The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Geoff & Meg Mann Francis & Marie-France Minkoff Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt
Silver Patrons Ms Terri Borain Andrea d’Avack Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Rehmet Kassim-Lakha de Morixe John & Angela Kessler Jamie & Julia Korner The Metherell Family Denis & Yulia Nagy Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Andrew & Rosemary Tusa Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Mr Mark Astaire Margot Astrachan Mr Geoffrey Bateman Mrs A Beare Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil The Earl & Countess of Chichester Mr Michael Cole-Fontayn Mr John H Cook Howard & Veronika Covington Mrs Maria Danilova Guy Davies Bruno De Kegel Cameron & Kathryn Doley Jill Dyal David Ellen Ignor & Lyuba Galkin Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Eugene & Allison Hayes Ms Elena Heinz Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home Rose & Dudley Leigh
18 | London Philharmonic Orchestra
Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Linda & Tim O’Neill Jacopo Pessina Mr Alex Petrov Mr Roger Phillimore Mr Michael Posen Mr Alex Smedley Ms Nadia Stasyuk Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Ms Jenny Watson CBE Christopher Williams Mr Anthony Yolland Principal Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Helen Brocklebank Mr Philip Bathard-Smith Ms Phyllia Chen Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett In honour of Bea Crumbine Mr Jonathan Davies Mr Richard Fernyhough Mr Michael Fox Mr Stephen Goldring Mr Milton Grundy Mr Ian Haslegrave Michael & Christine Henry Lady Hill Mrs Maureen Hooft-Graafland Jamilya Jakisheva Per Jonsson Vadim Levin Lady Leonora, Countess of Lichfield Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Michael & Patricia MclarenTurner Alice P. Melly
Mr John Meloy Andrew T Mills Dr Karen Morton Maxim & Natalia Moskalev Mrs Jannifer Oxley Mr James Pickford Natalie Pray Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Barry & Gillian Smith Mr Bill Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Matthew Stephenson & Roman Aristarkhov Marina Vaizey Howard & Sheelagh Watson Supporters Anonymous donors Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Mr David Devons Mr Anthony Diamond Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Scott & Icy Frantz Christopher Fraser OBE Will Gold Mr Peter Gray The Jackman Family Mr & Mrs Bon Jasperson Mr David MacFarlane Peter & Isabel Malkin Mr Frederic Marguerre Mr Mark Mishon Trevor Mulineaux Dame Jane Newell DBE Bill & Jane Nickerson Mr Stephen Olton Anju & Radhika Patel Mr David Peters
Candace Procaccini Mr & Mrs Graham & Jean Pugh Mr David Russell Deb & Jay Shaw Ms Elizabeth Shaw Mr Kenneth Shaw Ms Natalie Spraggon & Mr David Thomson Mrs John E Stauffer Ronald & Davidde Strackbein Mr John Weekes Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Joyce Kan (China/Hong Kong) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA)
Thomas Beecham Group Members David & Yi Buckley The Candide Trust The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport William & Alex de Winton Donors to the 2019 Gala Player Appeal Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Natasha Tsukanova Neil Westreich Guy & Utti Whittaker We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP
Connecticut Gala Committee Bea Crumbine & Jill Dyal Co-Chairmen Rodica Brune Mandy DeFilippo Rachel Franco Nick Gutfreund Mary Hull Steve Magnuson Natalie Pray Victoria Robey OBE Lisa & Scot Weicker Corporate Donors Barclays L Catterton Paul Hastings LLP Payne Hicks Beach Pictet Bank White & Case LLP LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners After Digital Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway Villa Maria In-kind Sponsor Google Inc
Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation The London Community Foundation Lord & Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute PRS For Music Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The Steel Charitable Trust Spears-Stutz Charitable Trust The Thomas Deane Trust The Viney Family The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.
London Philharmonic Orchestra | 19
Administration
Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Susanne Martens* Stewart McIlwham* Pei-Jee Ng* Andrew Tusa Timothy Walker CBE AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Helen Brocklebank Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Jamie Njoku-Goodwin Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker CBE AM Laurence Watt Elizabeth Winter
General Administration Timothy Walker CBE AM Chief Executive and Artistic Director
Education and Community Isabella Kernot Education and Community Director
David Burke Chief Executive Designate
Talia Lash Education and Community Manager
Sarah Gee PA to the Chief Executive/ Office Administrator Finance Frances Slack Finance and Operations Manager Dayse Guilherme Finance Officer Concert Management Roanna Gibson Concerts Director
Emily Moss Education and Community Project Manager Hannah Tripp Education and Community Project Co-ordinator Development Laura Willis Development Director Vicky Moran Development Events Manager
Graham Wood Concerts and Recordings Manager
Christina McNeill Corporate Relations Manager
Fabio Sarlo Glyndebourne and Projects Manager
Rosie Morden Individual Giving Manager
Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Librarian Sarah Thomas Librarian Laura Kitson Stage Manager Stephen O’Flaherty Stage Manager Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator
20 | London Philharmonic Orchestra
Anna Quillin Trusts and Foundations Manager Izzy Keig Development Assistant Lewis Hammond Development Assistant ~ Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager Alexandra Lloyd Projects and Residencies Marketing Manager Megan Macarte Box Office Manager (Tel: 020 7840 4242) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Georgie Gulliver Marketing Assistant
Public Relations Premier classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335 Archives Philip Stuart Discographer Gillian Pole Recordings Archive Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons 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. Composer photographs courtesy of the Royal College of Music, London. Cover artwork Design: Ross Shaw @JMG Studio Illustration: Brett Ryder/Heart Agency Printer Cantate