2019/20 concert season at Southbank Centre’s Royal Festival Hall
2004 2002 1904 2003 1902 1804 1903 2009 1802 2006 1803 1909 2001 1906 1809 2007 2010 1806 20081901 1907 2010 1801 1908 1807 2010 1808
Concert programme
Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI Principal Conductor Designate EDWARD GARDNER supported by Mrs Christina Lang Assael Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER CBE AM Chief Executive Designate DAVID BURKE
Southbank Centre’s Royal Festival Hall Wednesday 19 February 2020 | 7.30pm
Beethoven Symphony No. 2 in D, Op. 36 (34’) Knussen Violin Concerto (17’) Interval (20’) Sibelius Symphony No. 2 in D, Op. 43 (44’)
Vasily Petrenko conductor Leila Josefowicz violin Concert generously supported by Victoria Robey OBE.
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: Kevin Lin 6 2020 Vision at a glance 8 Vasily Petrenko 9 Leila Josefowicz 10 Programme notes 13 Recommended recordings Sibelius on the LPO Label 14 Recent LPO Label releases 15 LPO Annual Appeal 2019/20 16 LPO Ring Cycle 2021 17 Sound Futures donors 18 Supporters 20 LPO administration
WELCOME Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries, please ask a member of staff for assistance. Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location. Explore across the site with Foyles, Pret, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Spiritland, Honest Burger, Côte Brasserie, Skylon and Topolski. If you wish to get in touch with us following your visit, please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone us on 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES AND WATCHES should be switched off before the performance begins.
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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ORCHESTRA NEWS New this month on the LPO Label 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. Glyndebourne Opera Cup 2020 As Resident Symphony Orchestra of Glyndebourne Festival Opera, the LPO has been invited to accompany the final of the prestigious Glyndebourne Opera Cup on Saturday 7 March, which will also be broadcast live on Sky Arts. The competition is open to all singers under the age of 21 and offers a top prize of £15,000 and a guaranteed role at a leading international opera house. Preliminary rounds took place in Cape Town, Berlin, London, Milan, Paris, Vienna and New York, and the six finalists and their chosen repertoire will be confirmed after the semi-final on Wednesday 4 March. The winner will be selected by an international jury chaired by Glyndebourne’s Artistic Director Stephen Langridge. glyndebourne.com/operacup
LPO 2020/21 season launch 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 Kevin Lin Leader Chair supported by The Candide Trust
Vesselin Gellev Sub-Leader Minn Majoe Katalin Varnagy Chair supported by Sonja Drexler
Catherine Craig Robert Pool Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett
Amanda Smith Rebecca Shorrock Georgina Leo Eleanor Bartlett Nilufar Alimaksumova Katherine Waller Caroline Sharp John Dickinson Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Alexandra Lomeiko Erzsébet Rácz Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley
Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Sioni Williams Sheila Law Harry Kerr
Violas David Quiggle Principal Richard Waters Co-Principal Ting-Ru Lai Laura Vallejo Naomi Holt Stanislav Popov Sam Burstin Daniel Cornford Martin Wray Richard Cookson Susanne Martens Chair supported by Gill & Garf Collins
Martin Fenn Cellos Pei-Jee Ng Principal Jean Kim Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Susanna Riddell Tom Roff Helen Rathbone Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Laura Murphy Charlotte Kerbegian Adam Wynter Laurence Lovelle Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Caroline, Jamie & Zander Sharp
Stewart McIlwham*
Oboes Ian Hardwick* Principal Alice Munday
Bass Trombone Lyndon Meredith Principal
Cor Anglais Sue Böhling* Principal
Tuba Lee Tsarmaklis* Principal
Chair supported by Dr Barry Grimaldi
Timpani Simon Carrington* Principal
Clarinets Benjamin Mellefont Principal
Chair supported by Victoria Robey OBE
Chair supported by Friends of the Orchestra
Thomas Watmough
Percussion Andrew Barclay* Principal
Chair supported by Roger Greenwood
Bassoons Jonathan Davies Principal Chair supported by Sir Simon Robey
Gareth Newman
Chair supported by Andrew Davenport
Henry Baldwin Co-Principal Harp Rachel Masters Principal
Contrabassoon Simon Estell* Principal
Piano/Celeste Ian Tindale
Horns Andrew Littlemore Guest Principal Martin Hobbs Anna Douglas Gareth Mollison Alexander Willett
* Holds a professorial appointment in London Meet our members: lpo.org.uk/players
Trumpets Paul Beniston* Principal Chair supported by Donors to the 2019 Gala Player Appeal
James Fountain* Principal Anne McAneney* Trombones David Whitehouse Principal Carol Jarvis
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Chiltern Friends of the LPO William & Alex de Winton Bianca & Stuart Roden Neil Westreich
London Philharmonic Orchestra | 3
LONDON PHILHARMONIC ORCHESTRA
The LPO all-Russian Prom was one of the rarest programmes of the season, sumptuously persuasive about Glazunov’s theme-park Fifth (has the orchestra ever sounded more top-league?) The Arts Desk: ‘Best of 2019’ (BBC Proms 2019: Vladimir Jurowski conducts Rimsky-Korsakov, Rachmaninoff & Glazunov)
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. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around
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40 concerts each season. This year’s focus is our new 2020 Vision series, which features some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier. Outside London, the Orchestra has flourishing residencies in Brighton, Eastbourne and at Saffron Hall in Essex, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of recent seasons have included a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.
KEVIN LIN leader
The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 4 conducted by Vladimir Jurowski, Mozart chamber works with LPO Principal players, and Ravi Shankar’s only opera, Sukanya (see page 14). 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
Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, Kevin has received international recognition for his musicianship and ‘soulful’ playing (The Arts Desk). He has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Pittsburgh Symphony and Houston Symphony, and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster at The Colburn School and The Curtis Institute of Music. An avid chamber musician, Kevin’s recent collaborations include performances with the Tokyo and Ebène quartets, Edgar Meyer, Cho-Liang Lin, Orion Weiss and Andrew Bain. In recent years he has received prizes from the Irving M. Klein International Competition and the Schmidbauer International Competition, and competed in the George Enescu International Violin Competition and the Menuhin International Violin Competition. Kevin spent his early years studying with Patinka Kopec in New York, before going on to study with Robert Lipsett at The Colburn School in Los Angeles, where he received his Bachelor of Music degree. He then continued his studies at The Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.
youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra
Kevin’s chair in the London Philharmonic Orchestra is generously supported by The Candide Trust.
London Philharmonic Orchestra | 5
at a glance
Tonight’s concert is part of our 2020 Vision series, exploring the journey of music with pioneering works that have defined the sound of the 21st century, alongside music written exactly 100 and 200 years before. Just as the defining masterpieces of Beethoven and his contemporaries punctuated the first two decades of the 19th century, this series features pieces that provide a snapshot of the definitive sound of the 21st – each one separated by exactly two centuries from Beethoven’s world. A piece from 1801 encounters a piece from 2001. Beethoven meets Adès, Dutilleux and Knussen. Louis Spohr encounters Einojuhani Rautavaara.
2001
NEW CENTURY, NEW SOUNDS
SATURDAY 8 FEBRUARY 2020
Beethoven Symphony No. 1 Péter Eötvös Snatches of a Conversation Scriabin Symphony No. 2 Vladimir Jurowski conductor Marco Blaauw trumpet Omar Ebrahim speaker
Between them, in a world simultaneously like and entirely unlike that of 1820 or 2020, comes the generation of 1900–1920: the composers of the fin de siècle who saw a century remade in war. Who realised that Sibelius’s Second Symphony came exactly a century after Beethoven’s, and that Scriabin, Ravel and Enescu all form part of the same big picture? 2020 Vision brings them together to hear what they have to say to each other, and to us: a fascinatingly fresh perspective on familiar classics, forgotten masterpieces, and the must-hear works of the 21st century.
Free pre-concert event 6.15pm—6.45pm, Royal Festival Hall Join us in examining the past, present and future of music, and what works spanning centuries have to say to each other.
lpo.org.uk/2020vision
2002
All events take place at Southbank Centre’s Royal Festival Hall and begin at 7.30pm. Tickets £14–£46 (Premium seats £65) Transaction fees apply London Philharmonic Orchestra Ticket Office 020 7840 4242 Mon–Fri 10.00am–5.00pm lpo.org.uk Transaction fees: £3.00 online; £3.50 by phone
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Southbank Centre Ticket Office 020 3879 9555 southbankcentre.co.uk Transaction fees apply: £3.50 online; £4.00 by phone. No transaction fees for in-person bookings, Southbank Centre Members and Supporters Circles.
Generously supported by Cockayne Grants for the Arts and The London Community Foundation.
THREE ADVENTURES
WEDNESDAY 19 FEBRUARY 2020 Beethoven Symphony No. 2 Knussen Violin Concerto Sibelius Symphony No. 2 Vasily Petrenko conductor Leila Josefowicz violin Generously supported by Victoria Robey OBE.
2003
FANTASY AND REVOLUTION
SATURDAY 22 FEBRUARY 2020 Jörg Widmann Lied for Orchestra Ravel Shéhérazade Beethoven Symphony No. 3 (Eroica) Dima Slobodeniouk conductor Christine Rice mezzo-soprano
2004
NEW VISIONS
WEDNESDAY 26 FEBRUARY 2020 Elgar In the South Spohr Violin Concerto No. 2 Webern Im Sommerwind Rautavaara Book of Visions Osmo Vänskä conductor Sergej Krylov violin
2006
THE NEW BACCHUS THE EVEREST OF WEDNESDAY 25 MARCH PIANO CONCERTOS 2020 WEDNESDAY 8 APRIL 2020
Beethoven Symphony No. 4 Kaija Saariaho Notes on Light Scriabin Symphony No. 4 (The Poem of Ecstasy)
Méhul Symphony No. 1 Ryan Wigglesworth Augenlieder* Rachmaninoff Piano Concerto No. 3
Omer Meir Wellber conductor Johannes Moser cello
Vladimir Jurowski conductor Sophie Bevan soprano Nikolai Lugansky piano
2007
BEETHOVEN’S FIFTH
SATURDAY 28 MARCH 2020
Sibelius Symphony No. 3 Dutilleux Le temps l’horloge Beethoven Symphony No. 5 Edward Gardner conductor Sally Matthews soprano Generously supported by Mrs Aline ForielDestezet.
2005
2008
FRIDAY 28 FEBRUARY 2020
WEDNESDAY 1 APRIL 2020
POETRY AND BELIEF
2009
LANDSCAPE AND MEMORY
Beethoven Piano Concerto No. 4 Krzysztof Penderecki Chaconne in memory of John Paul II Enescu Symphony No. 1
Ives The Unanswered Question Thomas Adès In Seven Days Beethoven Symphony No. 6 (Pastoral)
Osmo Vänskä conductor Jeremy Denk piano
Vladimir Jurowski conductor Nicolas Hodges piano
*Supported by Resonate. Resonate is a PRS Foundation initiative in partnership with the Association of British Orchestras, BBC Radio 3 and Boltini Trust.
2010
CROSSING CULTURES
WEDNESDAY 22 APRIL 2020
John Corigliano Stomp Philip Glass Double Concerto for violin and cello Shankar Symphony Karen Kamensek conductor Daniel Hope violin Alban Gerhardt cello Anoushka Shankar sitar Generously supported by Cockayne Grants for the Arts and The London Community Foundation.
The second half of 2020 Vision (September–December 2020) will be announced with our 2020/21 season launch on Thursday 20 February 2020. Visit lpo.org.uk for full details.
Generously supported by the Adam Mickiewicz Institute and the Romanian Cultural Institute.
London Philharmonic Orchestra | 7
VASILY PETRENKO conductor
Petrenko’s interpretation of this great score was quite masterly throughout, gripping and moving by turns and inspiring the LPO to give of its best. © Svetlana Tarlova
Classical Source, 27 March 2019 (LPO at Royal Festival Hall: Walton’s Symphony No. 1)
In 2021 Vasily Petrenko will take up the position of Music Director of the Royal Philharmonic Orchestra. Currently, he holds the positions of Chief Conductor of the Oslo Philharmonic Orchestra (appointed in 2013/14), Chief Conductor of the Royal Liverpool Philharmonic Orchestra (since 2009, as a continuation of his period as Principal Conductor which commenced in 2006), Chief Conductor of the European Union Youth Orchestra (since 2015) and Principal Guest Conductor of the State Academic Symphony Orchestra of Russia (since 2016). He previously served as Principal Conductor of the National Youth Orchestra of Great Britain (2009–13), and Principal Guest Conductor of the Mikhailovsky Theatre, where he began his career as Resident Conductor (1994–97).
Orchestra, Cleveland Orchestra, and San Francisco, Boston, Chicago, Montréal and St Louis symphony orchestras. He last appeared with the London Philharmonic Orchestra in March 2019, when he conducted a programme of Khachaturian, Tchaikovsky and Walton at Royal Festival Hall.
Vasily Petrenko was born in 1976 and started his music education at the St Petersburg Capella Boys Music School – Russia’s oldest music school. He then studied at the St Petersburg Conservatoire, where he participated in masterclasses with such luminary figures as Ilya Musin, Mariss Jansons and Yuri Temirkanov.
Vasily Petrenko has established a strongly defined profile as a recording artist. Amongst a wide discography, his Shostakovich symphony cycle with the Royal Liverpool Philharmonic Orchestra for Naxos has garnered worldwide acclaim. With the Oslo Philharmonic Orchestra, he has recently released cycles of Scriabin’s symphonies and Strauss’s tone-poems.
He has worked with many of the world’s most prestigious orchestras including the Berlin Philharmonic, Leipzig Gewandhaus, London Symphony, London Philharmonic, Philharmonia, Accademia Nazionale di Santa Cecilia (Rome), St Petersburg Philharmonic, Orchestre National de France, Czech Philharmonic, NHK Symphony and Sydney Symphony orchestras. He has appeared at the Edinburgh and Grafenegg festivals, and made frequent appearances at the BBC Proms. Recent years have seen a series of highly successful North American debuts, including the Philadelphia Orchestra, Los Angeles Philharmonic
In 2017 Vasily Petrenko was honoured with the Artist of the Year Award at the prestigious annual Gramophone Awards, one decade on from receiving its Young Artist of the Year Award in 2007. In 2010 he won the Male Artist of the Year at the Classical BRIT Awards. He is only the second person to have been awarded Honorary Doctorates by both the University of Liverpool and Liverpool Hope University (in 2009), as well as an Honorary Fellowship of Liverpool John Moores University (in 2012): awards that recognise the immense impact he has had on the Royal Liverpool Philharmonic Orchestra and the city’s cultural scene.
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Equally at home in the opera house, and with over 30 operas in his repertoire, Petrenko made his debuts in 2010 at Glyndebourne Festival Opera (Macbeth) and the Opéra de Paris (Eugene Onegin), and in recent seasons has also conducted at the Mikhailovsky Theatre, Zürich Opera and Bayerische Staatsoper. In autumn 2019 he made his debut at the Metropolitan Opera, New York, in a production of The Queen of Spades.
LEILA JOSEFOWICZ violin
In short, a fantastic talent.
© Chris Lee
Gramophone
Leila Josefowicz’s passionate advocacy of contemporary music for the violin is reflected in her diverse programmes and her enthusiasm for performing new works. In recognition of her outstanding achievement and excellence in music, she won the 2018 Avery Fisher Prize and was awarded a prestigious MacArthur Fellowship in 2008, joining prominent scientists, writers and musicians who have made unique contributions to contemporary life. Highlights of Josefowicz’s 2019/20 season include opening the London Symphony Orchestra’s season with Simon Rattle and returning to the San Francisco Symphony with its incoming Music Director, EsaPekka Salonen, to perform his Violin Concerto. Further engagements include concerts with Los Angeles Philharmonic, NDR Elbphilharmonie Orchester, Orchestre de la Suisse Romande, Chicago Symphony Orchestra, City of Birmingham Symphony Orchestra and the Cleveland and Philadelphia orchestras, where she will work with conductors including Susanna Mälkki, Matthias Pintscher and John Adams. A favourite of living composers, Josefowicz has premiered many concertos including those by Colin Matthews, Steven Mackey and Esa-Pekka Salonen, all written specially for her. This season she will give the UK premiere of Helen Grime’s Violin Concerto with the BBC Symphony Orchestra under Dalia Stasevska. Other recent premieres include John Adams’s Scheherazade.2 (Dramatic Symphony for Violin and Orchestra) with the New York Philharmonic and Alan Gilbert in 2015, and Luca Francesconi’s Duende – The Dark Notes with the Swedish Radio Symphony Orchestra and Susanna Mälkki in 2014. Josefowicz enjoyed a close working relationship with the late Oliver Knussen, performing various
concertos, including his violin concerto, together over 30 times. Alongside pianist John Novacek, with whom she has enjoyed a close collaboration since 1985, Josefowicz has given recitals at world-renowned venues such as New York’s Zankel Hall, Washington DC’s Kennedy Center and London’s Wigmore Hall, as well as in Reykjavik, Chicago, San Francisco and Santa Barbara. This season the duo appear together at Washington DC’s Library of Congress, New York’s Park Avenue Armory, and Amherst College. She will also join Thomas Adès in recital to give the world premiere of his new violin and piano work at the Fondation Louis Vuitton in Paris, and the Japanese premiere at the Tokyo Opera City Cultural Foundation. Recent highlights include engagements with the Berlin Philharmonic, Royal Concertgebouw Orchestra, National Symphony Orchestra, Tonhalle-Orchester Zürich, and Boston and Finnish Radio symphony orchestras. In summer 2017 Josefowicz appeared at Birmingham’s Symphony Hall and London’s Royal Albert Hall at the BBC Proms with the City of Birmingham Symphony Orchestra under Mirga Gražinytė-Tyla. Leila Josefowicz has released several recordings and was featured on Touch Press’s acclaimed iPad app ‘The Orchestra’. Her latest recording, released in 2019, features Zimmermann’s Violin Concerto with the Finnish Radio Symphony Orchestra under Hannu Lintu. She has previously received Grammy Award nominations for her recordings of Scheherazade.2 with the St Louis Symphony conducted by David Robertson, and EsaPekka Salonen’s Violin Concerto with the Finnish Radio Symphony Orchestra conducted by the composer.
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PROGRAMME NOTES 2002: THREE ADVENTURES All music comes freighted with history; a history that grows weightier with every passing year. In 1802, Beethoven’s Second Symphony – written at a time of personal and international crisis – gleefully broke through the accepted boundaries of taste and proportion. In 1902, Jean Sibelius was expected to shoulder the aspirations of a whole emerging nation, at the same time as he grappled with a musical form – the symphony – which could by then mean almost anything. Both composers turned the very process of creating music into a gripping human drama.
1802 With Beethoven, categories quickly become impossible. Everyone agrees that Beethoven’s Second Symphony has the same basic shape and layout as a Mozart or Haydn symphony. But everyone also agrees that it does something very different. For the music historian Sir George Grove, this was the last and greatest Classical symphony – ‘the farthest point to which Beethoven could go before he burst into that wonderful new region into which no man had penetrated’. To others, this piece was the turning point between Classical and Romantic.
So what did Beethoven himself say? At the end of the very summer – 1802 – in which Beethoven completed the Second Symphony, he completed another document; the so-called Heiligenstadt Testament, a letter to his brothers revealing the fact of his incurable deafness: ‘You who think me to be morose, awkward and cynical, how badly you misjudge me! … joyfully, I hasten to meet death.’ How on earth does that relate to a symphony
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In our own time (though, heartbreakingly, no longer with us), few composers understood the possibilities of history more fully than the late Oliver Knussen. But his shoulders were more than broad enough to bear the burden, and tonight his Violin Concerto of 2002 evokes three centuries of tradition in music that makes the business of creating beauty seem effortless – you might even say, like magic.
Ludwig van Beethoven (1770–1827) Symphony No. 2 in D, Op. 36 1 Adagio – Allegro con brio 2 Larghetto 3 Scherzo: Allegro 4 Allegro molto
that’s been described as ‘fresh as ever in its indomitable fiery flash and its irresistible strength’? Beethoven is supposed to have thrown away three drafts of the piece. His biographer Ferdinand Ries, probing Beethoven for the thinking behind a certain change in the Larghetto, got only a terse reply: ‘It’s better that way’. Yet this remains one of the sunniest, strongest, and most exhilarating symphonies ever written. Yes, some of Beethoven’s techniques can be analysed – and how they have been! Its outer movements both begin with a surprise, and their Allegros rocket off with breathtaking energy. You hardly notice that, unusually, none of the first Allegro’s themes is given to the violins – but you can’t miss the dazzling verve with which those fiddles, freed from their usual duties, flash across the musical landscape. The long, luxurious slow movement is as profoundly soothing now as it was then. And in the high-octane
comedy of the finale and the Scherzo (a three-note children’s game amplified to symphonic scale, like one of those giant versions of Jenga or Connect Four that you find in pub gardens) the jokes hit their marks as punchily as ever. When this Symphony was first heard,
2002 Nineteen months have passed since Oliver Knussen was taken from us, and it’s still difficult to quantify the loss. Meanwhile his music endures, creating miniature worlds of intense emotion and beauty. Knussen had an endlessly responsive imagination, taking inspiration equally from Berg and Rimsky-Korsakov; from the most tragic of personal experiences and from the playful sophistication (perhaps too sophisticated for adult imaginations, though for Knussen the door to wonder was never closed) of Maurice Sendak’s children’s books. Every note was carefully chosen, every colour perfectly tinted. He laboured for years over even the smallest pieces. Knussen’s Violin Concerto – commissioned by the Pittsburgh Symphony and Philadelphia orchestras, and premiered by Pinchas Zukerman in Pittsburgh on 5 April 2002 – is small only in its duration. Knussen left a few, characteristically understated, remarks on the creative process: ‘This Concerto is in three movements played without pause – Recitative, Aria, Gigue. It is quite unnerving to try to usefully characterise for others something which is still being composed at the time of writing! Nevertheless one possible clue to the nature of the piece is that I was tempted above to write “in three scenes”, and to mention that despite the Classical
in Vienna on 5 April 1803, it was among the longest ever written. Let’s leave the historical categorisation at that, and just enjoy a life-affirming and fabulously entertaining masterpiece, in a class of its own.
Oliver Knussen (1952–2018) Violin Concerto Leila Josefowicz violin 1 Recitative – 2 Aria – 3 Gigue
associations with the movement titles, the expressive world is sometimes wildly at odds with expectations thus suggested, or so it seems to me. At times the violinist resembles a tightrope walker progressing along a (decidedly unstable) high-wire strung across the span that separates the opening and closing sounds of the piece.’ In other words, the titles of the three movements – with all their historical and stylistic connotations – serve only as gateways into the music’s own imaginative world, where the violinist is wanderer, explorer, acrobat and poet in a world that is sometimes menacing, sometimes utterly magical. Knussen, as always, preferred to let the music speak on its own terms.
Oliver Knussen (© Mark Allan/BBC)
Interval – 20 minutes An announcement will be made five minutes before the end of the interval. London Philharmonic Orchestra | 11
PROGRAMME NOTES CONTINUED
1902 In November 1907 Jean Sibelius called on Gustav Mahler in a Helsinki hotel. A quarter of a century later Sibelius recalled how they ‘discussed all the great questions of music thoroughly’. For Sibelius, what defined a symphony was ‘its severity of style and the profound logic that creates an inner connection between all the motifs’. ‘No’, countered Mahler, ‘the symphony must be like the world. It must embrace everything.’ Unsurprisingly, Mahler has tended to be held up as the winner of the exchange, which seems to have been cordial but slightly chilly (Mahler, as a famous conductor, assumed that Sibelius was only there to tout his wares, and asked him which of his pieces he wanted him to conduct. Sibelius’s response was stiff with affronted pride: ‘None.’)
But these neat definitions aren’t the whole story. Formal logic certainly can’t be the only reason why Sibelius’s Second Symphony has become one of the best-loved of all 20th-century symphonies (it was performed three times within a fortnight of its premiere in Helsinki on 8 March 1902, and was sold out on all four occasions). And it would have been surprising if Sibelius, in 1901, could have written a wholly abstract symphony. Finland was still a province of the Russian Empire, and Sibelius had been a figurehead of Finnish nationalism for over a decade – so prominently, indeed, that the Finnish senate had granted him a state pension at the age of 32. He’d even had the dubious honour of having his music banned by the Russian authorities (until 1917 the piece we now know as Finlandia could be performed in Finland only as Impromptu). So Sibelius was the hero of a patriotic movement well before he began work on his Second Symphony while on holiday in Italy in the second half of 1901. Music engaged his emotions as well as his mind:
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Jean Sibelius (1865–1957) Symphony No. 2 in D, Op. 43 1 Allegretto 2 Tempo andante ma rubato 3 Vivacissimo – 4 Finale: Allegro moderato
the Symphony grows with unstoppable power from a quiet pastoral opening to a majestic and unmistakably triumphant conclusion. His compatriots got the message at once. But it wasn’t just about Finland. The Second Symphony is full of personal experience, its first movement aglow with throbbing string chords and dancing woodwinds. A breath of the Mediterranean? Certainly, Sibelius admitted that the legend of Don Juan had inspired much of the second movement. The sound of supernatural footsteps echo through the twilit pizzicato that opens the movement; cries of terror and glimpses of consolation (he labelled one theme ‘Christus’) are boldly and dramatically expressed. The tension discharges into the vortex of the scherzo, twice broken by a yearning, oboe-led melody: a call-back to the pastoral mood of the first movement before, like Beethoven, it broadens, deepens, and surges forward into a striding finale. But the struggle isn’t over yet. Sibelius’s wife Aino said that he first sketched the long, lamenting melody for winds that comes before the final, epic peroration when he heard of the suicide of his beloved sister-in-law Elli Jarnefelt. Sibelius is too honest to give us unshaded triumph.
You mention interconnections between themes and other such matters, all of which are quite subconscious on my part. Only afterwards can one discern this or that relationship but for the most part one is merely the vessel. That miraculous logic (let us call it God) which governs a work of art, that is the important thing. Jean Sibelius to his friend Axel Carpelan
So there’s no shortage of the man and his world in Sibelius’s Second. What about that ‘profound logic’? It’s there, and it’s brilliant (musicologists have traced it bar by bar); but it’s not about musical mathematics – it’s in the way that the Symphony grows. From the playful fragments of its opening bars, through the dark passions of the second movement, the whirlwind third, and into the sweeping melodies and victorious trumpets of the finale, it unfolds with the inevitability of some natural force. Sibelius liked to compare the Symphony to a great river, into which innumerable tributaries feed before it broadens majestically and flows into the sea. Let the Second Symphony carry you, and see for yourself if this doesn’t seem like a wonderfully apt description. Programme notes © Richard Bratby
Recommended recordings of tonight’s works by Laurie Watt Beethoven: Symphony No. 2 Scottish Chamber Orchestra | Charles Mackerras (Hyperion) Knussen: Violin Concerto Leila Josefowicz | BBC Symphony Orchestra Oliver Knussen (NMC) Sibelius: Symphony No. 2 London Philharmonic Orchestra | Paavo Berglund (LPO Label LPO-0005: see below) or Oslo Philharmonic Orchestra | Mariss Jansons (Warner Classics)
Sibelius Symphonies on the LPO Label
Sibelius Symphony No. 2 Sibelius Symphony No. 7 Paavo Berglund conductor London Philharmonic Orchestra £9.99 | LPO-0005
Sibelius Pohjola’s Daughter Sibelius Symphony No. 5 Lutosławski Concerto for Orchestra
Sibelius Symphony No. 5 Sibelius Symphony No. 6 Sibelius The Swan of Tuonela
Jukka-Pekka Saraste conductor London Philharmonic Orchestra
Paavo Berglund conductor London Philharmonic Orchestra
£9.99 | LPO-0057
£9.99 | LPO-0065
Available from lpo.org.uk/recordings; the Southbank Centre Shop, Level 2, Royal Festival Hall; the LPO Ticket Office (020 7840 4242); and all good CD outlets. Download or stream online via Primephonic, Idagio, Apple Music, Spotify and others.
London Philharmonic Orchestra | 13
RAVI SHANKAR Sukanya David Murphy conductor Released January 2020
£9.99 | LPO-0113
£9.99 | LPO-0114
£14.99 | LPO-0115
Recent releases on the LPO Label
MOZART Flute Concerto No. 2 Sinfonia Concertante for Four Winds Bassoon Concerto Vladimir Jurowski conductor Soloists of the LPO Released November 2019
MAHLER Symphony No. 4 Vladimir Jurowski conductor Sofia Fomina soprano Released July 2019
CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Primephonic, Idagio, Apple Music, Spotify and others.
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SKY
SMART SPEAKER
COME BEHIND THE SCENES
You know the London Philharmonic Orchestra for our UK concerts, our international tours, the residency at Glyndebourne, our education work and music recordings... BUT BEHIND THE WORK THAT YOU DO SEE IS A WORLD OF WORK THAT YOU DON’T. DURING OUR INCREDIBLY AMBITIOUS 2019/20 SEASON ...
2277 To deliver 20 concert performances on tour, 2277 hotel rooms will be booked.
135
To support our Young Talent schemes, LPO members will deliver 234 hours of mentoring.
7500
The LPO Library will produce an average of 65 folders of music for every concert.
560
For a single performance of Mahler’s Symphony No. 2, 3440 pages of music will be ordered – and that’s just the chorus parts.
234
Performing 54 operas at Glyndebourne will require the coordination of 135 hours of ensemble rehearsals.
65
3440
The LPO Ticket Office will process over 7500 tickets for primary school children to experience a live orchestral concert.
To record key performances, more than 560 participation forms will be prepared.
24
Approximately 24 hours of raw footage will be shot, edited and crafted into content for our digital platforms.
4x2
4 TONNES
For every rehearsal and every concert, the on-the-road team will load and unload over four tonnes of instruments and flight cases … twice.
SUPPORT THE UNSEEN WORK OF THE ORCHESTRA
LPO.ORG.UK/DONATE London Philharmonic Orchestra | 15
WAGNER’s complete Ring Cycle with Vladimir Jurowski January/February 2021
Join us as we reach the end of a remarkable three-year journey with two star-studded semi-staged complete Ring Cycles at Southbank Centre’s Royal Festival Hall. Ring Cycle 1 Das Rheingold Die Walküre Siegfried Götterdämmerung Ring Cycle 2 Das Rheingold Die Walküre Siegfried Götterdämmerung
Mon 25 Jan 2021 Wed 27 Jan 2021 Fri 29 Jan 2021 Sun 31 Jan 2021
Fri 5 Feb 2021 Sat 6 Feb 2021 Mon 8 Feb 2021 Wed 10 Feb 2021
7.00pm 5.00pm 4.00pm 3.00pm
7.00pm 4.00pm 4.00pm 3.00pm
‘Next year’s complete cycle promises to be an orchestral miracle.’ David Nice, The Arts Desk (Review of Wagner’s Siegfried, Feb 2020)
On sale now For full cast information and booking, visit lpo.org.uk/ringcycle or call the LPO Ticket Office on 020 7840 4242. Support us as we realise this bold project and enjoy an enhanced concert experience. Include an add-on donation with your order. Visit lpo.org.uk/ringcycle or call 020 7840 4212 for more details.
16 | London Philharmonic Orchestra
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
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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
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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 AT&T Barclays L Catterton Paul Hastings LLP Payne Hicks Beach Pictet Bank White & Case LLP LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners After Digital Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway Villa Maria In-kind Sponsor Google Inc
Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation The London Community Foundation Lord & Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute PRS For Music Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The Steel Charitable Trust Spears-Stutz Charitable Trust The Thomas Deane Trust The Viney Family The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.
London Philharmonic Orchestra | 19
ADMINISTRATION Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Susanne Martens* Stewart McIlwham* Pei-Jee Ng* Andrew Tusa Timothy Walker CBE AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Helen Brocklebank Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Jamie Njoku-Goodwin Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker CBE AM Laurence Watt Elizabeth Winter
General Administration Timothy Walker CBE AM Chief Executive and Artistic Director
Education and Community Isabella Kernot Education and Community Director
David Burke Chief Executive Designate
Talia Lash Education and Community Manager
Sarah Gee PA to the Chief Executive/ Office Administrator Finance Frances Slack Finance and Operations Manager Dayse Guilherme Finance Officer Concert Management Roanna Gibson Concerts Director
Emily Moss Education and Community Project Manager Hannah Tripp Education and Community Project Co-ordinator Development Laura Willis Development Director Vicky Moran Development Events Manager
Graham Wood Concerts and Recordings Manager
Christina McNeill Corporate Relations Manager
Fabio Sarlo Glyndebourne and Projects Manager
Rosie Morden Individual Giving Manager
Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Librarian Sarah Thomas Librarian Laura Kitson Stage Manager Stephen O’Flaherty Stage Manager Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator
20 | London Philharmonic Orchestra
Anna Quillin Trusts and Foundations Manager Izzy Keig Development Assistant Lewis Hammond Development Assistant ~ Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager Alexandra Lloyd Projects and Residencies Marketing Manager Megan Macarte Box Office Manager (Tel: 020 7840 4242) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Georgie Gulliver Marketing Assistant
Public Relations Premier classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335 Archives Philip Stuart Discographer Gillian Pole Recordings Archive Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045. Cover artwork 2020 Vision visuals by Ross Shaw @ JMG Studio Printer Cantate