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CONCERT PROGRAMME

2018/19 CONCERT SEASON

AT SOUTHBANK CENTREâ€™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 Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER CBE AM

Southbank Centre’s Royal Festival Hall Saturday 18 January 2020 | 7.30pm

Poulenc Seven Tenebrae Responses (24’) Poulenc Concerto in G minor for Organ, Strings and Timpani (19’) Interval (20’) Fauré Requiem, Op. 48 (38’)

Bertrand de Billy conductor James O’Donnell organ Katerina Tretyakova soprano Stéphane Degout baritone London Philharmonic Choir Artistic Director: Neville Creed

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 Bertrand de Billy 7 James O’Donnell 8 Katerina Tretyakova 9 Stéphane Degout 10 London Philharmonic Choir 11 Programme notes & texts 18 Recommended recordings 19 LPO Annual Appeal 2019/20 21 Sound Futures donors 22 Supporters 24 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.

Orchestra news

Timothy Walker CBE AM We are delighted to share the news that Her Majesty The Queen has granted Timothy Walker, the London Philharmonic Orchestra’s Chief Executive and Artistic Director, the honour of Commander of the Order of the British Empire (CBE) for Services to the Arts and Music in the 2020 New Year’s Honours. We are sure that all our audiences and supporters will join musicians and staff in congratulating Tim and thanking him for his exceptional commitment to the LPO in the first instance, and more broadly to classical music throughout the UK and internationally. Read more: lpo.org.uk/news

New on the LPO Label: Ravi Shankar’s Sukanya Last Wednesday the LPO under David Murphy gave a performance of the late Ravi Shankar’s opera Sukanya at Royal Festival Hall. This followed the Orchestra’s 2017 world premiere performances of the opera. We are delighted that a recording of the original 2017 production has now been released on the LPO Label (LPO-0115). Inspired by Shankar’s own wife, Sukanya seamlessly blends Western and Indian musical traditions. This recording features the original cast of the opera including Susanna Hurrell and Alok Kumar. It is priced at £14.99 and is available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. It’s also available to download or stream online via Spotify, Apple Music, Primephonic, Idagio and others.

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

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

Vesselin Gellev Sub-Leader Minn Majoe Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Robert Pool Sarah Streatfeild Tina Gruenberg Lasma Taimina Morane Cohen-Lamberger Georgina Leo Rebecca Shorrock Eleanor Bartlett Nilufar Alimaksumova Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Helena Nicholls Ioana Forna Mathilde Gheorghiu Sioni Williams Violas David Quiggle Principal Susanne Martens Chair supported by Gill & Garf Collins

Laura Vallejo Naomi Holt Stanislav Popov Alistair Scahill Daniel Cornford Martin Wray Richard Cookson Sarah Malcolm

Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Double Basses Kevin Rundell* Principal Hugh Kluger George Peniston Tom Walley Laura Murphy Charlotte Kerbegian Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Caroline, Jamie & Zander Sharp

Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick* Principal Alice Munday Cor Anglais Sue BĂśhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets Thomas Watmough Principal Chair supported by Roger Greenwood

James Maltby Bass Clarinet Paul Richards* Principal

Bassoons Jonathan Davies Principal Chair supported by Sir Simon Robey

Gareth Newman Contrabassoon Simon Estell* Principal Horns John Ryan* Principal Andrew Littlemore Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison

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 Andrew Davenport William & Alex de Winton Friends of the Orchestra Eric Tomsett

Trumpets Paul Beniston* Principal Chair supported by Donors to the 2019 Gala Player Appeal

Anne McAneney* Gwyn Owen Trombones David Whitehouse Principal Peter Crocker Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Chair supported by Victoria Robey OBE

Harp Sue Blair Guest Principal Organ ClĂodna Shanahan * Holds a professorial appointment in London

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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: 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. February 2020 sees the launch of a new series entitled 2020 Vision, 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.

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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Bertrand de Billy conductor

Bertrand de Billy marshalled his forces excellently, clearly understanding the large-scale forces at work in the score.

Seen & Heard International, May 2017 (Don Carlos at the Royal Opera House, Covent Garden)

The 2019/20 season sees Bertrand de Billy return once again to the Theater an der Wien for a new production of Spontini’s La vestale, to the Metropolitan Opera for La traviata and Tosca, and to the Teatro dell’Opera di Roma for Carmen. Equally in demand on the concert podium, as well as tonight’s debut with the London Philharmonic Orchestra, this season he will appear with orchestras including the Orchestre National de France, the Vienna Symphony Orchestra, the Orchestre de la Suisse Romande, the Bamberg Symphony Orchestra, the Helsinki Philharmonic, the Orchestre Chambre de Lausanne and the Staatskapelle Weimar. Early in his career, guest engagements took Bertrand de Billy to the state operas of Vienna, Berlin, Hamburg and Munich, as well as to such renowned venues as the Royal Opera House, Covent Garden, the Grand Théâtre de la Monnaie in Brussels, the Opéra National de Paris, and the opera houses of Washington and Los Angeles. Since 1997 he has been a regular guest at the Metropolitan Opera in New York, and since 2002 at the Salzburg Festival. Alongside his celebrated career as an opera conductor, Bertrand de Billy regularly performs concerts worldwide, conducting such distinguished orchestras as The Cleveland Orchestra, the Bavarian Radio Symphony Orchestra, the Staatskapelle Dresden, the Orchestre de Paris and the Vienna Symphony Orchestra, as well as the Museumsorchester Frankfurt, the Hamburg Philharmonic, the Berlin Radio Symphony Orchestra, the Konzerthaus Orchestra Berlin, the Dresden Philharmonic, the Bamberg Symphony Orchestra, the Royal Danish Orchestra, the NHK Symphony Orchestra, the Tokyo Philharmonic Orchestra, the Tokyo Metropolitan Symphony Orchestra, and

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many more. He conducts a wide repertoire, from Bach to many world premieres. He maintains a close relationship with the Theater an der Wien, the Wiener Musikverein and the Wiener Konzerthaus, as well as with the Munich State Opera. Bertrand de Billy was born in Paris, where he studied music and performed as an orchestral musician before taking up conducting. From 1993–95 he was First Kapellmeister and Deputy Music Director of the Anhaltisches Theater in Dessau, and from 1996–98 he held the same position at the Vienna Volksoper. He was subsequently Music Director at the Gran Teatre del Liceu in Barcelona from 1999–2004, and Music Director of the Vienna Radio Symphony Orchestra from 2002–10. He was Principal Guest Conductor of the Frankfurter Opern- und Museumsorchester until December 2015, and of the Orchestre de Chambre de Lausanne until the end of the 2017/18 season. From 2014–18 he also served as Principal Guest Conductor of the Dresden Philharmonic. Numerous CD and DVD recordings document Bertrand de Billy’s work, and he has received many prestigious awards in France and Austria.

James O’Donnell organ

James O’Donnell is master of the king of instruments.

Richard Fairman, Financial Times, November 2014 (Poulenc Organ Concerto and Saint-Saëns Organ Symphony on the LPO Label)

James O’Donnell is one of Britain’s leading organists and choral conductors. Since 2000 he has been Organist and Master of the Choristers of Westminster Abbey. Recent highlights have included directing the music at the wedding of The Duke and Duchess of Cambridge, the visit of Pope Benedict XVI, and concert tours to the Far East, Australia and the USA.

was elected to Honorary Membership in 2002. He has been elected to Fellowship of the Royal College of Music and Honorary Fellowship of Jesus College, Cambridge. He has also been awarded the Papal honour of Knight Commander of St Gregory, and in 2013 received an honorary DMus from the University of Aberdeen.

In March 2014 James O’Donnell appeared with the LPO at Royal Festival Hall as the soloist in Poulenc’s Organ Concerto and Saint-Saëns’s ‘Organ’ Symphony, subsequently released on the LPO Label (LPO-0081: see page 15). His most recent engagement with the Orchestra was in January 2018, when he performed the Saint-Saëns Symphony once again, as well as Bach’s Toccata and Fugue in D minor and Jongen’s Symphonie Concertante. James O’Donnell studied as a Junior Exhibitioner at the Royal College of Music and then as Organ Scholar of Jesus College, Cambridge. After having served for six years as Assistant Master of Music, he was appointed Master of Music at Westminster Cathedral at the age of 26. Under his direction the Cathedral Choir won the Gramophone Record of the Year award with a Hyperion recording of Masses by Martin and Pizzetti and became the first choir to be honoured with a Royal Philharmonic Society Award (1999). As an organist, James O’Donnell has appeared in concert all over the world, including the USA, Japan, Australia, New Zealand and throughout Europe and the UK. He was President of the Royal College of Organists from 2011–13. He is Music Director of St James’s Baroque and holds Visiting Professorships of Organ and Choral Conducting at the Royal Academy of Music, of which he

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Katerina Tretyakova soprano

She impresses with a brilliant timbre, an excellent technique and a bright top.

Die Welt

During the 2019/20 season Russian soprano Katerina Tretyakova will sing La traviata at Sächsische Staatsoper Dresden, Juliette in Roméo et Juliette at Oper Graz, and make her role debut as Donna Anna in a new production of Don Giovanni there. She will return to the Staatsoper Hamburg as Gretel in Hänsel und Gretel and will sing Marzelline in a concert version of Fidelio with the Orchestre de Paris conducted by Simone Young. Important engagements in recent seasons include Juliette (Roméo et Juliette) and Oscar (Un ballo in maschera) at the Gran Teatre del Liceu in Barcelona, her first La traviata at Staatsoper Berlin, and her debut at the Deutsche Oper am Rhein as Juliette. At the Staatsoper Hamburg she sang Lucia, Musetta and Woglinde, and at the Theater an der Wien and the Aalto Theater Essen, Anna in Marschner’s Hans Heiling. She performed as Regina in Mathis der Maler at the Theater an der Wien and at the Enescu Festival in Bucharest, and made her debut as Juliette at Oper Graz, sang La traviata at the Opera in Vilnius and made her debut as Gilda (Rigoletto) at the Teatro Colón de Bogotá. Katerina Tretyakova was a member of the ensemble at Staatsoper Hamburg from 2010–16 and sang many roles there, including Lucia (Lucia di Lammermoor), Gilda (Rigoletto), Adina (L’elisir d’amore), Adele (Die Fledermaus), Susanna (Le nozze di Figaro), Pamina (Die Zauberflöte), Musetta (La bohème), Nannetta (Falstaff) and Gretel (Hänsel und Gretel).

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Katerina works regularly with renowned orchestras such as the Concertgebouw Orchestra, the Vienna Radio Symphony Orchestra, the Radio Orchestra of Montpellier, the Dresden Philharmonic and the Hamburg Philharmonic. Before studying voice, Katerina completed her degree in conducting with honours at the conservatoire in Vilnius, and continued her training at the Lithuanian Academy of Music and Theatre and at the Mozarteum Salzburg. In 2008 she was accepted onto the Salzburg Festival’s Young Singers Project and then became a member of the opera studio at the Staatsoper Hamburg, where she sang major roles such as Musetta (La bohème), Valencienne (The Merry Widow), Oscar (Un ballo in maschera) and Frasquita (Carmen), and subsequently became a member of the ensemble. Katerina Tretyakova has received awards and distinctions in numerous competitions including the Francisco Viñas Competition in Barcelona, the Grand Prix de l’Opera in Bucharest, the Montserrat Caballé International Singing Competition in Zaragoza and the Marcello Giordani International Vocal Competition. Tonight’s concert is Katerina’s debut with the London Philharmonic Orchestra.

Stéphane Degout baritone

Degout’s baritone draws on dark colouring, yet has enough blade to scythe through the upper reaches ... He’s a terrific actor too, his eyes alone telling their own story. Bachtrack

Stéphane Degout studied at the Conservatoire national supérieur de musique et de danse de Lyon, and was a member of Opéra de Lyon. He made his operatic debut in 1999 at the Aix-en-Provence Festival. Since then he has sung for the Paris Opéra, the Royal Opera House, Berlin State Opera, La Monnaie, Theater an der Wien, Lyric Opera of Chicago, Metropolitan Opera, La Scala, Teatro Real, and Bavarian State Opera, and at the Salzburg, Glyndebourne and Ravinia festivals. His repertoire includes Thésée (Hippolyte et Aricie), Hercule (Alceste), Oreste (Iphigénie en Tauride), Count Almaviva (Le nozze di Figaro), Valentin (Faust), Raimbaud (Le comte Ory), Wolfram (Tannhäuser), Albert (Werther), Rodrigue (Don Carlos), Chorèbe (Les Troyens), and the title roles in Hamlet, Monteverdi’s Orfeo and Ulisse and Pelléas et Mélisande. His dedication has seen him create numerous operatic roles in works such as Benoît Mernier’s La Dispute and Philippe Boesmans’s Au Monde and Pinocchio. Recently he appeared as The King in George Benjamin’s new production Lessons in Love and Violence (London, Amsterdam, Lyon and Chicago).

which have received awards; Enfers notably winning at the 2019 International Opera Awards. Stéphane continues his collaborative streak with Harmonia Mundi, and will soon be releasing a CD of Mélodies et Lieders with pianist Simon Lepper.

In 2012 Stéphane Degout was appointed ‘Chevalier de l’Ordre des Arts et des Lettres’; a prestigious award which recognises ‘significant contribution to the enrichment of French cultural heritage’. 2012 and 2019 saw him named Lyrical Artist of the Year at the Victoires de la Musique Classique awards. Stéphane Degout is renowned for his highly sensitive interpretations of French melody and German Lieder. He has worked under the guidance of Ruben Lifschitz and has toured internationally. Alongside several DVD opera recordings, he has recorded CDs for B Records (Histoires Naturelles) and Harmonia Mundi (Enfers, Harmonie du soir and Berlioz’s Les Nuits d’été), all of

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London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Chairman Tessa Bartley | Choir Manager Bethea Hanson-Jones | Accompanist Jonathan Beatty

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Recent highlights have included Walton’s Belshazzar’s Feast with Marin Alsop; Mahler’s Symphonies Nos. 2 & 8 and and Tallis’s Spem in alium with Vladimir Jurowski; Verdi’s Requiem with Edward Gardner; Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; and Haydn’s The Creation with Sir Roger Norrington. The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. During 2019/20 the Choir is proud to be supporting homeless charity Crisis by leading a choral force behind the fight to end homelessness. During December 2019

more than 50 choirs around the UK joined the Choir’s campaign performing Paul Fincham’s carol Ring the Bells in aid of the charity. For more information visit lpc.org.uk/ringthebells.

Sopranos Annette Argent Chris Banks Tessa Bartley Hilary Bates Sarah Bindon Catherine Boxall Vicki Brammall Jo Bryant Carole Cameron Olivia Carter Sze Ying Chan Paula Chessell Emily Clarke Jenni Cresswell Rachel Cristy Sarah Davies Victoria Denard Kathryn Flood Rachel Gibbon Rosie Grigalis Jane Hanson Catherine Harding Sally Harrison Alice Higgins Barbara Kilpatrick Liz Kingsmill Joy Lee Katharina Leitz Ilona Lynch Martha MacBean Janey Maxwell Amanda May Christina McNeill Millie Miller Harriet Murray Sarah Ogden Kathryn O’Leary Niamh Quinlivan Danielle ReeceGreenhalgh Courtney Reed Emma Secher Rebecca Sheppard Katie Stuffelbeam Jo Webster Lorna Wills

Altos Phye Bell Jenny Burdett Andrei Caracoti Noel Chow Sara De La Serna Pat Dixon Andrea Easey Miranda Fern Henrietta Fisher Kathryn Gilfoy Jane Goddard Bethea HansonJones Judy Jones Andrea Lane Ethel Livermore Lisa MacDonald Laetitia Malan Ian Maxwell Nicola Mooney Caroline Morris Sophie Morrison Anna Mulroney Karine Sá Ferreira Carolyn Saunders Rima Sereikiene Lily Smith Annette Strzedulla Eleni Thwaites Catherine Travers Tenors Christopher Beynon Samuel Butter James Clarke Gary Cupido Robert Geary Peter Goves Josh Haley David Hoare Stephen Hodges Patrick Hughes Tony Masters Claudio Tonini

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Basses Jonathon Bird Peter Blamire Phillip Dangerfield Marcus Daniels Tom Fayle Ian Frost Paul Gittens Christopher Harvey Nicholas HennellFoley Mark Hillier David Hodgson Oliver Jackson Christopher Mackay Maurice MacSweeney John Miller John D Morris John G Morris Joel Nulsen Will Parsons Johannes Pieters Philip Tait Alex Thomas Geoff Walker John Wood

Programme notes and texts

Speedread If two works by Francis Poulenc could explain why the composer was once described as ‘half monk, half rascal,’ they are the two pieces performed tonight. In the composer’s Seven Tenebrae Responses we hear one of his most delicate, sincere and sophisticated expressions of faith. In his Organ Concerto, we hear him teasing tradition to cheeky, pulse-racing effect. Poulenc was a childlike figure among 20th-century French composers, but one for whom clarity and craftsmanship was paramount.

Francis Poulenc

Those are two characteristics he had in common with his compatriot Gabriel Fauré, whose supreme musical elegance is often described as characteristically French. Poulenc alternated between expressing his Catholic faith simply and directly and revelling in the sometimes gaudy exuberance of the Parisian Catholic church. Fauré, on the other hand, captured something in his Requiem that was both decorous and understated, and which has given countless generations many forms of solace.

Seven Tenebrae Responses Katerina Tretyakova soprano London Philharmonic Choir

1899–1963

I II III IV V VI VII

Una hora non potuistis vigilare mecum Judas, mercator pessimus Jesum tradidit impius Caligaverunt oculi mei Tenebrae factae sunt Sepulto Domino Ecce quomodo moritur justus

The texts and translations are overleaf.

Francis Poulenc was born into the Roman Catholic faith but drifted away from it until 1936, when he visited the pilgrimage site at Rocamadour. Whether or not Poulenc made it to heaven, his return to Catholicism from the late 1930s onwards produced a string of poised choral works that combined his self-described ‘austerity that smells of orange-blossom or jasmine’ with a touch of religious fervour – a faith expressed more directly than mysteriously.

In the early 1960s, Leonard Bernstein commissioned a new work from the composer for the New York Philharmonic’s new home at Lincoln Center, to which Poulenc responded with settings of the church’s litany for Holy Week, the ‘Tenebrae Responsories’, for highvoiced soloist, choir and orchestra. He finished writing in 1961 and orchestrated the work the following year. ‘I find it beautiful and do not regret having taken all this time over it,’ the composer commented to a friend;

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Programme notes and texts continued

‘may [the Responses] spare me a few days in purgatory.’ Days after delivering the corrected proofs to his publisher in January 1963, Poulenc died. The first performance took place three months later, in April. The seven Responses alternate narrative and reflection, dealing with Jesus in Gethsemane (I), Judas (II), betrayal and tears on Good Friday (III and IV), the falling of darkness following Jesus’s crucifixion (V), burial (VI) and a chorus of guarded hope (VII) that has been compared, in its culminating expression, to the movement that ends Bach’s St John Passion.

Poulenc admitted that his music had turned out more realistic and dramatic than he perhaps expected. It is full of the composer’s characteristically scented harmonies and abrupt cadences, but it holds a certain darkness too (not least in the slippery harmonies of ‘Caligaverunt oculi mei a fletu meo’ ; ‘my eyes are darkened by my tears’). We can also sense the figure of Poulenc himself – famously described as half monk, half rascal – in the presence of an isolated soloist grappling with the meaning of Christ’s death.

I Una hora non potuistis vigilare mecum (Maundy Thursday) Una hora non potuistis vigilare mecum, qui exhortabamini mori pro me? Vel ludam non videtis, quomodo non dormit, sed festinat tradere me ludaeis? Quid dormitis? surgite, et orate, ne intretis in tentationem.

Could ye not watch one hour with me, ye that were eager to die for me? Or do you not see Judas, how he sleeps not, but makes haste to betray me to the Jews? Why do you sleep? Arise and pray, lest ye fall into temptation.

II Judas mercator pessimus (Maundy Thursday) Judas mercator pessimus osculo petiit Dominum: ille ut agnus innocens non negavit Judae osculum: Denariorum numero Christum Judaeis tradidit. Melius illi erat si natus non fuisset.

The wicked merchant Judas sought our Lord with a kiss. He, like an innocent lamb, refused not the kiss of Judas. For a few coins he delivered Christ to the Jews. It had been better for him if he had never been born.

III Jesum tradidit impius (Good Friday) Jesum tradidit impius summis principibus sacerdotum, et senioribus populi: Petrus autem sequebatur eum a longe, ut videret finem. Adduxerunt autem eum ad Caipham principem sacerdotum, ubi scribae et pharisaei convenerant.

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The wicked man betrayed Jesus to the chief priests and elders of the people; but Peter followed him afar off, to see the end. And they led him to Caiaphas, the chief priest, where the scribes and Pharisees were met together.

IV Caligaverunt oculi mei (Good Friday) Caligaverunt oculi mei a fletu meo: quia elongatus est a me, qui consolabatur me: Videte, omnes populi, si est dolor similis sicut dolor meus. O vos omnes, qui transitis per viam, attendite et videte.

My eyes became dim with my weeping: for he is far from me that consoled me. See, all ye people, if there be sorrow like my sorrow. O all ye that pass by this way, attend and see.

V Tenebrae factae sunt (Good Friday) Tenebrae factae sunt, dum crucifixissent Jesum Judaei: et circa horam nonam exclamavit Jesus voce magna: Deus meus, ut quid me dereliquisti? Et inclinato capite, emisit spiritum. Exclamans Jesus voce magna aiit: Pater in manus tuas commendo spiritum meum.

There was darkness when the Jews crucified Jesus; and about the ninth hour Jesus cried out with a loud voice: My God, why hast thou forsaken me? And bowing down his head, he gave up the ghost. Jesus, crying out with a loud voice, said: Father, into thy hands I commend my spirit

VI Sepulto Domino (Holy Saturday) Sepulto Domino, signatum est monumentum, volventes lapidem ad ostium monument: Ponentes milites, qui custodirent ilium. Accedentes principes sacerdotum ad Pilatum, petierunt ilium.

When the Lord was buried, they sealed up the tomb, rolling a stone before the entrance to the sepulchre: placing soldiers to guard it. The chief priests went to Pilate and petitioned him.

VII Ecce quomodo moritur justus (Holy Saturday) Ecce quomodo moritur justus, et nemo percipit corde: et viri justi tolluntur, et nemo considerat: sublatus est Justus: Et erit in pace memoria eius. Tamquam agnus coram tondente se obmutuit, et non aperuit os suum: de angustia, et de judicio sublatus est.

Behold how the just man dies, and no one takes it to heart; and just men are taken away, and no one cares about it: the just man has been taken away from the face of iniquity: and his memory shall be in peace. He was as mute as a lamb before the shearer, and he opened not his mouth: he was taken away from anguish and from judgement.

London Philharmonic Orchestra | 13

Programme notes and texts continued

Francis Poulenc 1899–1963

When Francis Poulenc was growing up in Paris, the city was the centre of the art-music universe. Debussy had given birth to modernism here; Stravinsky had unleashed his game-changing The Rite of Spring here. All the way from the streets of Harlem on the other side of the Atlantic, the intoxicating rhythms of jazz had found their way here too. The latter proved particularly influential among a group of Parisian composers who established a counterculture. As a reaction against the big, bold gestures of Debussy and Stravinsky, the composers who formed the collective ‘Les Six’ (The Six) erred towards the lighthearted and of-the-moment in their music. Poulenc was one of them, but in a sense he was also the exception. He subscribed to the group’s quest for directness of expression and slimmed-down musical textures, but a certain depth and darkness lay behind Poulenc’s work that has undoubtedly contributed to its posterity. The Organ Concerto bears that theory out. Poulenc described the piece as ‘grave and austere’, but it launches with a wildly tongue-in-cheek refraction of music then two centuries old: the opening organ motif is a spiked, discordant reference to the organ’s godfather, Johann Sebastian Bach. As it proceeds through seven connected sections, the score embraces a far wider range of emotions than Poulenc’s two previous keyboard concertos had. The second section, Allegro giocoso, appears to jerk the organ out of the church and into the fairground – from one of its traditional homes to another. There’s

Concerto in G minor for Organ, Strings and Timpani James O’Donnell organ Andante – Allegro giocoso – Andante moderato – Tempo Allegro, molto agitato – Très calme. Lent – Tempo de l’Allegro initial – Tempo d’introduction: Largo

tenderness in the ensuing Andante moderato, the heart of the work and a movement that, via antiphonal exchanges from organ and strings, blossoms into something almost Romantic. It could have been that movement which prompted Poulenc to leap up onto the stage during an early rehearsal of the piece and ask the strings to imagine they were playing the famous ‘Méditation’ from Massenet’s ultra-Romantic opera Thaïs. But the mischievous prankster of Poulenc’s youth is back in the rhapsodic chase of the Tempo Allegro, which cranks upwards through a series of doom-laden intervals before what feels like another (and a now more respectful) homage to Bach in the air-like movement Très calme. The composer himself described the Organ Concerto as ‘Poulenc on the way to the cloister’, and the clearest vision of his return to Catholicism is arguably found in the Concerto’s final pages. The sardonic opening gesture returns, but then rocking phrases from the organ preface a sort of muted procession as a solo viola overlays a bed of breathy, sensuous organ chords. The piece was first performed by soloist Maurice Duruflé and strings from the Orchestre de Paris in 1938 at the home of its commissioner, the Princesse Edmond de Polignac. ‘Its profound beauty haunts me’, remarked the Princess after that performance, and it could well have been those beatific final pages that were responsible.

Interval – 20 minutes An announcement will be made five minutes before the end of the interval.

14 | London Philharmonic Orchestra

More organ masterpieces 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

Book now at lpo.org.uk or call 020 7840 4242.

Poulenc on the LPO Label Poulenc Piano Concerto | Organ Concerto | Stabat Mater Yannick Nézet-Séguin conductor Alexandre Tharaud piano James O’Donnell organ Kate Royal soprano London Philharmonic Orchestra & Choir £9.99 | LPO-0108

Poulenc Organ Concerto Saint-Saëns Symphony No. 3 in C minor (Organ) Yannick Nézet-Séguin conductor James O’Donnell organ London Philharmonic Orchestra

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.

£9.99 | LPO-0081

London Philharmonic Orchestra | 15

Programme notes and texts continued

Gabriel Fauré

Requiem, Op. 48 Katerina Tretyakova soprano Stéphane Degout baritone London Philharmonic Choir

1845–1924

I Introït et Kyrie II Offertoire III Sanctus IV Pie Jesu V Agnus Dei VI Libera me VII In Paradisum

Fauré once commented that he saw death as ‘a welcome deliverance, an aspiration towards happiness above rather than a painful experience.’ Such ideas seep into almost every bar of the composer’s Requiem. As organist at the church of La Madeleine in Paris, Fauré had accompanied countless burial ceremonies and concluded that he wanted ‘to write something different.’ His resulting Mass for the Dead stands in marked contrast to those dramatic creations by Mozart and Verdi, yet remains every bit their equal in popularity, endurance and the expression of a steadfast faith. The concept of a reassuring Requiem of aspiration rather than impending doom – to an extent explored by Johannes Brahms in his German Requiem of 1866 – was ideally suited to Fauré’s aesthetic, founded on elegance, delicacy and precision. The composer began work on his Requiem in 1887, and at the funeral of the architect Joseph-Michel La Soufaché on 16 January 1888, he conducted a five-movement version scored for choir, treble soloist and a small orchestra of violas, cellos, basses, harp, timpani and chamber organ. The following year Fauré added a baritone soloist and two further movements (Offertoire and Libera me), after which his publisher suggested he strengthen the orchestration.

16 | London Philharmonic Orchestra

The Requiem revolves around the central Pie Jesu, which serves as anchor while offering the most direct and affectingly simple music of the score. Its relative stillness stands in contrast to the sure but steady motion of movements rooted by revolving accompaniment (Sanctus, Libera me, In Paradisum). Fauré’s colours are undeniably subdued, which only adds weight to his idiosyncratic way of subverting harmonies; often, the harmonic footing shifts suddenly, creating passing feelings of angst, poignancy or radiance. Fauré courted controversy for his ‘pagan’ act of omitting certain sections of the Requiem Mass including the Dies Irae (‘Day of Wrath’). But it was a gesture in keeping with the composer’s sense of quiet, progressive change. As he no doubt knew, it also lent the piece a sense of universality, allowing it to resonate far beyond the confines of the Catholic Church. Programme notes © Andrew Mellor

FaurĂŠ Requiem: text

IntroĂŻt et Kyrie

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem: exaudi orationem meam, ad te omnis caro veniet.

Grant them eternal rest, Lord, and may perpetual light shine on them. To you, God, hymns of praise are sung in Sion, and unto you shall vows be performed in Jerusalem: hear my prayer, to you shall come all flesh.

Kyrie eleison. Christe eleison.

Lord have mercy. Christ have mercy.

II Offertoire O Domine Jesu Christe, Rex gloriae, libera animas defunctorum de poenis inferni et de profundo lacu, de ore leonis, ne absorbeat tartarus: ne cadant in obscurum.

O Lord Jesus Christ, king of glory, free the departed souls from the pains of hell and from the deep pit, from the jaws of the lion, let them not be swallowed up, nor vanish into darkness.

Hostias et preces tibi, Domine, laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti et semini ejus. Amen.

Our sacrifice and prayers, Lord, we offer to you with praise: Receive them on behalf of the souls, whom we remember today: make them, Lord, pass from death to life. As you promised Abraham and his seed. Amen.

III Sanctus Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

Pie Jesu

Pie Jesu, Domine, dona eis requiem, sempiternam requiem.

Holy, holy, holy Lord God of hosts. Heaven and earth are full of your glory. Hosanna in the highest.

Merciful Lord Jesus, grant them rest, eternal rest.

Agnus Dei

Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem, sempiternam requiem.

Lamb of God, who takes away the sins of the world, grant them rest. Lamb of God, who takes away the sins of the world, grant them rest, eternal rest. Continued overleaf. Please turn the page quietly. London Philharmonic Orchestra | 17

Fauré Requiem: text continued

Lux aeterna luceat eis, Domine. Cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Libera me

Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra; dum veneris judicare saeculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira. Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde. Requiem aeternam dona eis, et lux perpetua luceat eis.

VII

May perpetual light shine on them, Lord. With your saints throughout eternity, by your grace. Grant them eternal rest, Lord, and may perpetual light shine on them.

Deliver me, Lord, from eternal death, on that terrible day, when earth and heaven are shaken; when you come to judge all things by fire. I am trembling and afraid, until the trial comes, and the wrath. Day of torment, day of wrath, calamity and misery, greatest and most bitter day. Domine, Grant them eternal rest, Lord, and may perpetual light shine on them.

In Paradisum

In Paradisum deducant Angeli: in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctam Jerusalem. Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habeas requiem.

May angels lead you into Paradise: may you be received by the martyrs, and brought to the holy city of Jerusalem. May choirs of angels greet you, and with Lazarus, who was once lowly may you find eternal rest.

Recommended recordings of tonight’s works by Laurie Watt Poulenc: Seven Tenebrae Responses Carolyn Sampson | Capella Amsterdam | Estonian National Symphony Orchestra | Daniel Reuss (Harmonia Mundi) Poulenc: Concerto in G minor for Organ, Strings and Timpani James O’Donnell | London Philharmonic Orchestra | Yannick Nézet-Séguin (LPO Label LPO-0108: see page 15) Fauré: Requiem Soloists | Choir of King’s College, Cambridge | Orchestra of the Age of Enlightenment | Stephen Cleobury (King’s College own label) or Soloists | Choir of St John’s College, Cambridge | George Guest (Decca)

18 | London Philharmonic Orchestra

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.

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.

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

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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 | 21

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 An anonymous donor Mrs Aline Foriel-Destezet Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Associates 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

22 | 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 | 23

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 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 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 General Manager and Finance Director

Talia Lash Education and Community Manager

Sarah Gee PA to the Chief Executive/ Office Administrator

Emily Moss Education and Community Project Manager

Finance Frances Slack Finance and Operations Manager

Hannah Tripp Education and Community Project Co-ordinator

Dayse Guilherme Finance Officer

Development Laura Willis Development Director

Concert Management Roanna Gibson Concerts Director

Vicky Moran Development Events Manager

Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects 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

Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Izzy Keig Development Assistant Lewis Hammond Development Assistant ~ Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate

Sarah Holmes Librarian

Marketing Kath Trout Marketing Director

Sarah Thomas Librarian

Mairi Warren Marketing Manager

Laura Kitson Stage Manager

Alexandra Lloyd Projects and Residencies Marketing Manager

Stephen O’Flaherty Stage Manager Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator

24 | London Philharmonic Orchestra

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