2018/19 CONCERT SEASON
CONCERT PROGRAMME
AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL
2019/20 Concert season at Brighton Dome
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
Brighton Dome Concert Hall Saturday 15 February 2020 | 7.30pm
Dvořák Cello Concerto in B minor, Op. 104 (40’) Interval (20’) Sibelius Symphony No. 2 in D, Op. 43 (44’)
Joshua Weilerstein conductor Leonard Elschenbroich cello
The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH BRIGHTON DOME
Contents 2 Welcome Orchestra news 3 On stage tonight Leader: Vesselin Gellev 4 Joshua Weilerstein 5 Leonard Elschenbroich 6 About the Orchestra 7 Programme notes 9 Next concerts 10 Supporters 12 LPO administration
Welcome
Orchestra news
Welcome to Brighton Dome
New this month on the LPO Label
Chief Executive Andrew Comben We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following: LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks. SMOKING Brighton Dome is a no-smoking venue. INTERVAL DRINKS may be ordered in advance at the bar to avoid queues. PHOTOGRAPHY is not allowed in the auditorium.
Released on 28 February is a disc of works by 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; and the Violin Concerto with soloist Barnabás Kelemen, conducted by Michał Dworzyński. 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.
RECORDING is not allowed in the auditorium. MOBILES, PAGERS AND WATCHES should be switched off before entering the auditorium. Thank you for your co-operation. The concert at Brighton Dome on 15 February 2020 is presented by the London Philharmonic Orchestra in association with Brighton Dome. Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England.
Glyndebourne Festival 2020 Glyndebourne’s first production of Poulenc’s Dialogues des Carmélites will open the 2020 Festival on 21 May. Glyndebourne Music Director Robin Ticciati will conduct the London Philharmonic Orchestra and a cast led by soprano Danielle de Niese. The 2020 Festival also sees the return of Stravinsky’s comedy The Rake’s Progress, with Czech conductor Jakub Hrůša at the helm of the LPO. Also featuring the LPO this season are revivals of David McVicar’s production of Mozart’s Die Entführung aus dem Serail conducted by Nicolas Carter, and Annabel Arden’s production of Donizetti’s romantic comedy L’elisir d’amore under Enrique Mazzola. Booking opens on Sunday 8 March. glyndebourne.com
Brighton Dome is managed by Brighton Dome and Brighton Festival, which also runs the annual threeweek Brighton Festival in May. brightondome.org | brightonfestival.org
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. glyndebourne.com/operacup
2 | London Philharmonic Orchestra
On stage tonight
Chair supported by Eric Tomsett
Morane Cohen-Lamberger Georgina Leo Eleanor Bartlett Maeve Jenkinson Non Peters Katherine Waller Jeff Moore John Dickinson Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Emma Oldfield Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley
Joseph Maher Ashley Stevens Mathilde Gheorghiu Harry Kerr Alison Strange Jamie Hutchinson Gavin Davies Violas David Quiggle Principal Richard Waters Co-Principal Robert Duncan Ting-Ru Lai Katharine Leek Stanislav Popov Daniel Cornford Martin Wray Martin Fenn Sarah Malcolm
Cellos Jean Kim Guest Principal Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Helen Rathbone Double Basses Hugh Kluger Principal George Peniston Tom Walley Laura Murphy Charlotte Kerbegian Lowri Morgan Flutes Sue Thomas* Principal Chair supported by Caroline, Jamie & Zander Sharp
Stewart McIlwham* Piccolo Stewart McIlwham* Principal Oboes James Hulme Guest Principal Imogen Davies Clarinets Benjamin Mellefont Principal Chair supported by Friends of the Orchestra
Thomas Watmough Chair supported by Roger Greenwood
Bassoons Jonathan Davies Principal Chair supported by Sir Simon Robey
Gareth Newman
leader
Horns Alex Wide Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison
© Benjamin Ealovega
First Violins Vesselin Gellev Leader Catherine Craig Martin Höhmann Robert Pool Sarah Streatfeild Yang Zhang
Vesselin Gellev
Trumpets Paul Beniston* Principal Chair supported by Donors to the 2019 Gala Player Appeal
James Fountain* Principal Anne McAneney* Trombones Lindsay Shilling Guest Principal Duncan Wilson Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Henry Baldwin Principal Percussion Keith Millar Principal * Holds a professorial appointment in London The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport William & Alex de Winton Sonja Drexler Dr Barry Grimaldi Victoria Robey OBE Bianca & Stuart Roden Neil Westreich
Praised by the New York Times for his ‘warmth and virtuosic brilliance’, Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. Prior to joining the LPO as Sub-Leader in 2007, Vesselin was Leader of the New Haven Symphony Orchestra in the USA and the Spoleto Festival Orchestra in Italy. He performs regularly as Guest Leader with numerous orchestras in the UK and abroad including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra and Accademia Nazionale di Santa Cecilia. Vesselin received Bachelor and Master of Music degrees from The Juilliard School, New York. He has served on the violin and chamber music faculties of Cornell University in Ithaca, NY and the Eleazar de Carvalho Music Festival in Fortaleza, Brazil.
London Philharmonic Orchestra | 3
Joshua Weilerstein conductor
One of the most promising podium presences of his generation.
© Sim Canetty-Clark
LA Times
Joshua Weilerstein is the Artistic Director of the Orchestre de Chambre de Lausanne, where his contract has been extended until the end of the 2020/21 season. He enjoys a flourishing guest-conducting career and has established a number of close relationships both in Europe and the USA, including with the Oslo Philharmonic, NDR Radiophilharmonie Hannover, Deutsche Kammerphilharmonie Bremen, Orchestre Philharmonique de Radio France, Royal Stockholm Philharmonic Orchestra, Danish National Symphony Orchestra, BBC Symphony Orchestra, Royal Liverpool Philharmonic Orchestra, the Detroit, Milwaukee, San Diego and Baltimore symphony orchestras, and the New York Philharmonic, where he was Assistant Conductor. He is known for his clarity of musical expression, unforced manner and natural musicianship. His enthusiasm for a wide range of repertoire is combined with an ambition to bring new audiences into the concert hall.
Joshua Weilerstein is committed to programming both traditional and contemporary repertoire. He hosts a successful classical music podcast, ‘Sticky Notes’, for music lovers and newcomers alike, which reflects his interest in music education and in trying to reach as wide an audience as possible.
Joshua Weilerstein last conducted the London Philharmonic Orchestra in a programme of Shostakovich, Rachmaninoff and Tchaikovsky at Brighton Dome in April 2017. This season he will return to the Orchestre Philharmonique de Radio France, Tonhalle Orchestra Zürich, Finnish Radio Symphony Orchestra, Norrköping Symphony Orchestra and Royal Liverpool Philharmonic Orchestra. At the beginning of the season he led the Orchestre de Chambre de Lausanne on a tour to Germany, and this season he also makes his debuts with the Chamber Orchestra of Europe and the BBC National Orchestra of Wales.
An advocate of easy communication between the stage and audience, Joshua Weilerstein welcomes discussion about all aspects of classical music, programming and the experience of concert-going.
4 | London Philharmonic Orchestra
In his capacity as Artistic Director of the Orchestre de Chambre de Lausanne, Weilerstein encourages and participates in the educational and ‘Découvertes’ series of concerts for families, and during his time as Assistant Conductor with the New York Philharmonic Orchestra he was actively involved in the orchestra’s Young People’s Concerts. In August 2018 he conducted a specially devised programme, ‘The Sound of an Orchestra’, for the BBC Proms, inspired by Leonard Bernstein’s televised presentations in New York, which was described by Bachtrack as ‘an exhilarating musical ride through three centuries’ worth of orchestral music’.
facebook.com/joshuaweilerstein @JoshWeilerstein
Leonard Elschenbroich cello
A musician of great technical prowess, intellectual curiosity and expressive depth.
© Felix Broede
New York Times
Leonard Elschenbroich has established himself as one of the most charismatic cellists of his generation, renowned for his passionate and compelling performances. His awards include the Leonard Bernstein Award, the Förderpreis Deutschlandfunk, the Eugene Istomin Prize, and a Borletti-Buitoni Trust Award. He was a BBC Radio 3 New Generation Artist (2012–14), Artist in Residence at Deutschlandfunk (2014–15), and Artist in Residence at the Philharmonic Society Bremen (2013–16). Elschenbroich has worked with eminent conductors including Semyon Bychkov, Christoph Eschenbach, Charles Dutoit, Manfred Honeck, Kirill Karabits, Andrew Litton, Juanjo Mena, Edward Gardner, Yan Pascal Tortelier and Vassily Sinaisky. He has performed with orchestras including the London Philharmonic, Royal Philharmonic, BBC Philharmonic, BBC Symphony, Bournemouth Symphony, WDR Symphony, Konzerthaus Orchester Berlin, NDR Hanover, Dresden Staatskapelle, Bergen Philharmonic, Warsaw Philharmonic, Residentie Orkest, Polish National Radio Symphony, Filharmónica de Sevilla, Orchestre Philharmonique de Radio France, Swedish Radio Symphony, St Petersburg Philharmonic and Netherlands Philharmonic. Further afield, his performances include with the Japan Philharmonic, Nagoya Philharmonic, New Zealand Symphony, Tasmanian Symphony, National Symphony Orchestra of Washington, Minnesota Orchestra and Chicago Symphony Orchestra. He has made seven appearances at the BBC Proms. An enthusiastic advocate of contemporary music, in 2018 Leonard Elschenbroich gave the world premiere of Mark Simpson’s Cello Concerto, written specially for him as a commission from the BBC, and he has also
championed cello concertos by Gilbert Amy, MarkAnthony Turnage, Pēteris Vasks, Magnus Lindberg and Brian Elias. He has commissioned several new works from composers including Turnage, Luca Lombardi, Arlene Sierra and Suzanne Farrin. A string of superlatives has greeted the release of Elschenbroich’s latest recording on Onyx – a cycle of Beethoven Cello Sonatas with Alexei Grynyuk – awarded Editor’s Choice in Gramophone and Chamber Choice in BBC Music Magazine. Earlier releases include Kabalevsky’s Cello Concerto No. 2 with the Netherlands Philharmonic Orchestra and Andrew Litton; a tribute to Schnittke entitled Musica Nostalgia; French concertos by Dutilleux and Saint-Saëns; and sonatas by Rachmaninoff and Shostakovich (Editor’s Choice, Gramophone). Leonard Elschenbroich is a fervent supporter of the emergent musical community in Bolivia and is Artistic Mentor of the Orquesta Filarmónica de Bolivia, the country’s first national orchestra, which he co-founded in 2012. He returns to Bolivia on a regular basis, both for performances and to lead educational projects, and has an increasing presence elsewhere in South America: he has performed with the Buenos Aires Philharmonic, the Belo Horizonte Orchestra and the Medellín Philharmonic, as well as in recitals. Born in 1985 in Frankfurt, Leonard Elschenbroich received a scholarship, aged ten, to study at the Yehudi Menuhin School in the UK. He plays a cello made by Matteo Goffriller, ‘Leonard Rose’ (Venice, 1693), on private loan. leonard-elschenbroich.com
London Philharmonic Orchestra | 5
London Philharmonic Orchestra
The London Philharmonic is playing at the peak of its form. The Financial Times, 27 September 2019
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.
now numbers over 100 releases all available on CD and to stream or download.
The London Philharmonic 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.
The London Philharmonic Orchestra’s dynamic Education & Community programme provides first musical experiences to 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 London Philharmonic Orchestra has performed at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. As well as its London home, it also has flourishing residencies in Brighton, Eastbourne and Saffron Walden, and each summer plays for Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide.
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 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
The London Philharmonic Orchestra broadcasts regularly on television and radio. It also works with the Hollywood and UK film industries, recording soundtracks for blockbusters including the Oscarwinning score for The Lord of the Rings trilogy. In 2005 it established its own record label, which
6 | London Philharmonic Orchestra
twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra
Programme notes
Speedread When Dvořák and Sibelius were born, both their countries were under foreign domination. Both found a musical language that spoke of the promise of freedom and a new sense of cultural selfhood in their native folk music. Echoes of ancient Finnish chant reverberate throughout Sibelius’s Second Symphony, while many of the tunes and dance rhythms of Dvořák’s Cello Concerto have a strong Czech accent. Sibelius never gave his Second Symphony a name or an explanatory programme, but its distinctly Finnish vocal qualities and growing optimism spoke so directly to his fellow citizens that it was soon nicknamed ‘Symphony of Liberation’, and it quickly came to symbolise Finnish determination to survive
Antonín Dvořák 1841–1904
Few people are surprised today when a composer chooses to write a cello concerto. As the great examples by Dvořák, Elgar, Schumann, Walton and Shostakovich show, this noble, rich-toned, soulfully expressive and remarkably agile instrument makes a splendid concerto soloist. But when the Czech composer Antonín Dvořák wrote his Cello Concerto in 1894–5, even connoisseurs were surprised. When Johannes Brahms – composer of one of the greatest violin concertos in the repertoire – first saw Dvořák’s score, he exclaimed, ‘Why on earth didn’t I know that one could write a cello concerto like this? If I had only known, I would have written one long ago!’ Actually there’s no reason why Brahms should have known: in his and Dvořák’s day the cello was rarely played well as a solo instrument. In fact the situation seems to have lasted for some time after Dvořák’s
Russian cultural repression. Dvořák was in the USA when he wrote his Cello Concerto, stirring up furious controversy with his view that American classical music could find its soul in Black American spirituals. But his musical language was still rooted in his homeland, as can be heard in this impassioned, ripely colourful masterpiece. But there is another theme of liberation here: the freeing of the voice of the cello, then widely regarded as unworthy to be heard as a soloist in a concerto. As Dvořák’s friend Brahms put it, ‘Why on earth didn’t I know that one could write a cello concerto like this? If I had only known, I would have written one long ago!’
Cello Concerto in B minor, Op. 104 Leonard Elschenbroich cello 1 Allegro 2 Adagio ma non troppo 3 Allegro moderato
death. As late as 1939, the famous Manchester Guardian critic Neville Cardus complained of ‘the wasp-in-thewindow effect which most times we have to put up with whenever a cellist gets to work.’ But there is also the issue of balance. The cello may seem to have a powerful voice, but its lower notes in particular can easily be overwhelmed if the orchestral accompaniment is too rich and strong. But Dvořák copes superbly with this potential problem. Though he uses a relatively large orchestra, the cello soloist rarely has to contend with anything like its full force. There are loud, impressive orchestral tuttis, but in these passages the cellist is mostly silent. The result is that, given a reasonably strong player, every note of the cello part should be audible. That must have been one of the Concerto’s features that so impressed Brahms. Continued overleaf London Philharmonic Orchestra | 7
Programme notes continued
Beyond that, Brahms can hardly fail to have been impressed by Dvořák’s melodic writing. The Cello Concerto brims over with wonderful long tunes and characterful short motifs. Not all of these are initially identified with the cello. Like most concertos of the Classical era of Mozart and Beethoven, Dvořák begins the first movement with a long passage for orchestra alone. There is a darkly memorable theme for low woodwind at the start, then, after the first big climax, a glorious long tune for solo horn. So when the cello enters for the first time, it not only has to cope with Dvořák’s technical assault-course, it also has to establish a claim to these themes for itself. In the slow movement, it is the cellist’s powers as an instrumental singer that are tested to the full. The first
theme is relaxed and reflective, with strong suggestions of folksong. But this is interrupted by a darker minor-key central section. Here there is a definite autobiographical element. While Dvořák was working on the Concerto, he heard that his sister-in-law, Josefina Kaunitzova, was seriously ill – in his youth Dvořák had been in love with her. Josefina was particularly fond of Dvořák’s song ‘Leave me alone’ (Op. 82 No. 1), and in this slow movement he has the cello quote its melody just after the first stern entry of the trombones and tuba. This same melody reappears near the end of the finale – this time in response to the news of Josefina’s death. The finale’s opening march theme does return in triumph to end the Concerto, but that poignant reminiscence of lost love lingers in the memory – is this where the Concerto’s heart truly lies?
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
Jean Sibelius 1865–1957
Sibelius once told his fellow composer Gustav Mahler that, for him, writing symphonies was about finding ‘the profound logic that establishes a connection between all the motifs’. True, no 20th-century composer is more profoundly logical than Sibelius at his best: following the development of a whole movement from a tiny thematic ‘germ’ can be like watching a speededup film of a plant growing from a seed to full flower. But it’s also clear that there is much more to a work like the Second Symphony than abstract development. In fact the slow second movement began life as a tonepoem about the final struggle between Don Juan and Death – it’s still possible to trace the outlines of the story in the music – while the triumphant emergence of the majestic Finale theme from the stormy ending of
8 | London Philharmonic Orchestra
Symphony No. 2 in D, Op. 43 1 Allegretto 2 Tempo Andante, ma rubato 3 Vivacissimo – Lento e suave – Tempo primo – Lento e suave – 4 Finale: Allegro moderato
the third movement is much more than a clever piece of musical engineering. For many of Sibelius’s fellow Finns, listening to the Symphony’s first performance in 1902, this passage in particular expressed the nation’s growing hope of independence after a century of Russian domination. In fact the Second Symphony soon came to be known as the ‘Symphony of Liberation’. For his part, Sibelius never completely confirmed or denied this interpretation, but it’s hard to believe that the fate of his oppressed but heroically defiant native country didn’t leave a deep imprint on this music – and especially on its blazingly positive conclusion. In the first movement, profound logic and mounting optimism work hand in hand. The opening string chords
outline a three-note rising figure, moving upwards in simple steps. This is the seed from which almost everything in this music grows. But at first the growth is hesitant, broken by pauses and expectant silences. Eventually the pace and excitement mount, but this too seems to run out of steam, and a nervous oboe figure, with murmuring string accompaniment initiates a long, striving build up. At the height of this long crescendo, triumphant brass fanfares burst through, culminating in a grand restatement of the opening material, now without its earlier hesitancy. A brief recapitulation leads to a calmer coda, the opening rising string figures now falling to rest. Eerie pizzicato (plucked) figures for basses and cellos, followed by a lugubrious bassoon solo, set a more sombre tone for the slow movement. In his sketches for the original Don Juan tone-poem, Sibelius drafted out a programme for this first section: ‘Sitting in the twilight in my castle. A stranger comes in. I ask him more than once who he is. Finally he strikes up a song. Then Don Juan sees who it is – Death.’ It’s not hard to match this closely to the music. The sense of struggle grows darker, more painful, but a warmer, majorkey theme for full strings (labelled ‘Christus’ in the
sketches) brings welcome contrast. In this movement it is the darker music – ‘Death’ according to Sibelius’s abandoned programme – that wins. However that only makes the rushing vitality of the following Vivacissimo third movement all the more exhilarating. Twice this music is interrupted by a chantlike theme (led by oboe) in a slower tempo, but the second time this leads into a stormy transition, with scraps of a new theme heard first on bass instruments – Sibelius’s model here is clearly the thrilling ScherzoFinale transition in Beethoven’s Fifth Symphony. Eventually the clouds part, and the scraps fuse into the superbly confident Finale theme, striding forward in three beats to the bar. This movement too has its darker episodes – Sibelius’s widow revealed that the plaintive oboe theme (above murmuring low strings) was composed in memory of her sister, who committed suicide – Death in another guise. But eventually the Finale theme returns with renewed vigour. Finally the tempo broadens and trumpets extend the theme into a radiant song of victory. Programme notes © Stephen Johnson
Final LPO concert this season at Brighton Dome Saturday 18 April 2020 | 7.30pm Beethoven Overture, Fidelio Beethoven Piano Concerto No. 4 Beethoven Symphony No. 6 (Pastoral)
The new LPO Brighton Dome 2020/21 season brochure will be available at the 18 April concert.
Matthew Coorey conductor Joanna MacGregor piano
Book online at brightondome.org or call 01273 709709
London Philharmonic Orchestra | 9
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
10 | 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 | 11
London Philharmonic Orchestra 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
12 | 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