2018/19 CONCERT SEASON
AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL
CONCERT PROGRAMME 2019/20 Concert season at Eastbourne’s Congress Theatre
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
Congress Theatre, Eastbourne Sunday 19 January 2020 | 3.00pm
Mendelssohn Hebrides Overture, Op. 26 (Fingal’s Cave) (10’) Haydn Cello Concerto No. 1 in C major (25’) Interval (20’) Brahms Symphony No. 4 in E minor, Op. 98 (40’)
Thomas Blunt conductor Laura van der Heijden cello
The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL
Contents 2 3 4 5 6 7 8 11 12 13 14 16
Welcome Orchestra news On stage today About the Orchestra Leader: Vesselin Gellev Thomas Blunt Laura van der Heijden Programme notes Next concerts Brahms on the LPO Label LPO Annual Appeal 2019/20 Supporters LPO administration
Welcome
Orchestra news
Welcome to the Congress Theatre, Eastbourne
Timothy Walker CBE AM
Theatre Director Chris Jordan General Manager Gavin Davis Welcome to this afternoon’s performance. We are pleased to welcome back the London Philharmonic Orchestra and its patrons to the Congress Theatre. The London Philharmonic gave the first ever performance at this Grade II listed building when it originally opened in 1963. This historic building was purpose-built as a theatre and conference venue designed by Bryan and Norman Westwood Architects. What makes the theatre unique is that it is conceived to be a perfect cube. It has fantastic acoustics to enhance your experience of live music, and so it is thrilling to see the Orchestra back in its Eastbourne home. We thank you for continuing to support the concert series.
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
Please sit back in your seats and enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones are switched off during the performance. Thank you.
Earlier this month the LPO under conductor David Murphy gave a performance of the late Ravi Shankar’s opera Sukanya at Royal Festival Hall. This revival followed the Orchestra’s 2017 world premiere performances of the opera in Leicester, Salford, Birmingham and at Royal Festival Hall. 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 to tell an epic love story which transcends time and space. This recording features the original cast of the opera, including Susanna Hurrell and Alok Kumar, performing alongside masters of traditional Indian instruments and the BBC Singers. The release is priced at £14.99 and is available now 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.
2 | London Philharmonic Orchestra
On stage today
First Violins Vesselin Gellev Leader Lasma Taimina Morane Cohen-Lamberger Essi Kiiski Rebecca Shorrock Nilufar Alimaksumova Katherine Waller Jeff Moore Alice Hall Miranda Allen Gabriel Opacka John Dickinson
Cellos David Lale Principal Francis Bucknall Elisabeth Wiklander Susanna Riddell Helen Rathbone George Hoult
Bassoons Emma Harding Guest Principal Gareth Humphreys
Double Basses Hugh Kluger Principal George Peniston Tom Walley Charlotte Kerbegian
Second Violins Helena Smart Principal Fiona Higham
Flutes Sue Thomas* Principal
Horns John Ryan* Principal Andrew Littlemore Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison
Chair supported by David & Yi Buckley
Joseph Maher Ioana Forna Sioni Williams Mathilde Gheorghiu Harry Kerr Alison Strange Jamie Hutchinson Gavin Davies Violas David Quiggle Principal Robert Duncan Daniel Cornford Richard Cookson Sarah Malcolm Julia Kornig Mark Gibbs Charles Cross
Chair supported by Caroline, Jamie & Zander Sharp
Stewart McIlwham* Piccolo Stewart McIlwham* Principal Oboes Alun Darbyshire Guest Principal Imogen Davies Clarinets Thomas Watmough Principal Chair supported by Roger Greenwood
Elliot Gresty
Contrabassoon Simon Estell* Principal
Timpani Simon Carrington* Principal Chair supported by Victoria Robey OBE
Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport
* 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
Anne McAneney* Trombones David Whitehouse Principal Peter Crocker Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust The Chiltern Friends of the LPO Gill & Garf Collins William & Alex de Winton Sonja Drexler Friends of the Orchestra Dr Barry Grimaldi Countess Dominique Loredan Sir Simon Robey Bianca & Stuart Roden Eric Tomsett Neil Westreich
London Philharmonic Orchestra | 3
London Philharmonic Orchestra
The performance was as good as could be … the LPO was beautifully poised and utterly perfect. Alan Sanders, Seen and Heard International (LPO at Royal Festival Hall, 6 October 2018: Beethoven and Stravinsky)
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.
Vesselin Gellev
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. 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.
© Benjamin Ealovega
leader
Praised by the New York Times for his ‘warmth and virtuosic brilliance’, Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammynominated Absolute Ensemble. Prior to joining the LPO as Sub-Leader in 2007, Vesselin was Leader of the New Haven Symphony Orchestra in the USA and the Spoleto Festival Orchestra in Italy. He performs regularly as Guest Leader with numerous orchestras in the UK and abroad including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra, MDR Leipzig Radio Symphony Orchestra, Stavanger Symphony Orchestra, Accademia Nazionale di Santa Cecilia and Orchestra of the Deutsche Oper Berlin. Vesselin received Bachelor and Master of Music degrees from The Juilliard School, New York, as a student of Robert Mann. He has served on the violin and chamber music faculties of Cornell University in Ithaca, NY and the Eleazar de Carvalho Music Festival in Fortaleza, Brazil.
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London Philharmonic Orchestra | 5
Thomas Blunt conductor
... the fine young conductor Thomas Blunt ...
© Benjamin Ealovega
Richard Morrison, The Times, October 2019 (Rigoletto, Glyndebourne on Tour)
Thomas Blunt studied at Cambridge University and the Royal College of Music, and was the first ever British participant of the prestigious Allianz International Conductors’ Academy, where he worked with the London Philharmonic and Philharmonia orchestras. A passionate and adept proponent of Italian opera, he is also one of the most versatile conductors of his generation, with repertoire ranging from Bach to contemporary music. Thomas enjoys a close relationship with Glyndebourne Festival Opera, where he began his career as Chorus Master and has since conducted L’elisir d’amore, Falstaff, Il barbiere di Siviglia and La cenerentola on the Tour. During his time at Glyndebourne Thomas worked closely with Music Director Vladimir Jurowski, resulting in his appointment as Jurowski’s Assistant Conductor with the London Philharmonic Orchestra, with which he has since conducted performances at venues including Royal Festival Hall (including three UK premieres), Queen Elizabeth Hall and the Sala São Paulo in Brazil, where the LPO was joined by the Coro da Orquestra Sinfônica do Estado de São Paulo for Bruckner’s Mass in E minor. For OSESP, he has since conducted Rossini’s Petite messe solennelle and Brahms’s German Requiem. Thomas Blunt has conducted Jephtha for Welsh National Opera, Don Pasquale and La traviata for Longborough Festival Opera, La cenerentola for Opéra national du Rhin, and the world premiere of Dave Maric’s Ghosts for the Royal Opera House at the Linbury Theatre. In 2014 he made his Swiss debut with Ariadne auf Naxos at the Konzert Theater Bern, and was subsequently appointed First Kapellmeister for the following season. During his tenure he conducted a highly successful new production of The Magic Flute
6 | London Philharmonic Orchestra
as well as performances of La cenerentola, and returned to Bern as a guest in 2016 to conduct Lohengrin. He has also worked for Opera North, Opéra de Lyon, La Monnaie, and the Cantiere Internazionale d’Arte di Montepulciano. In addition to the LPO and OSESP, concert highlights include the Royal Liverpool Philharmonic Orchestra, the Orchester Musikkollegium Winterthur, the RTÉ Concert Orchestra and the St Endellion Festival. Recent and future highlights include his first new production for Glyndebourne, Rigoletto, which was the first time the company has performed this work; his house debut at the Royal Danish Opera with Idomeneo; return invitations to Longborough Festival Opera for Don Giovanni and Welsh National Opera for The Magic Flute; and performances with the Coro and Orquestra Sinfônica do Estado de São Paulo, and the New Zealand Symphony Orchestra.
Laura van der Heijden cello
The beauty of Laura van der Heijden’s playing lies in the fact that she has a wonderful expressivity, but never, ever overdoes it.
© Chris Gloag
Jane Shuttleworth, Bachtrack
Laura van der Heijden has already made a name for herself as a very special emerging talent, captivating audiences and critics alike with the sensitivity of her sound and interpretations. This soulful and evocative artist can already look back on a number of exceptional achievements, among them being the winner – at the age of just 15 – of the BBC Young Musician competition in 2012, and performing with such distinguished musicians as Andrew Davis, Karl-Heinz Steffens, Kirill Karabits, Huw Watkins, Krzysztof Chorzelski and the Brodsky Quartet. In 2016 Laura was chosen by the Orpheum Stiftung in Switzerland, a foundation that encourages and assists exceptionally talented young instrumental soloists. Under this umbrella she appeared in recital with Fazıl Say at the Zürich Tonhalle.
In the past few years Laura has performed with the Philharmonia Orchestra, the Hallé Orchestra, the Yomiuri Nippon Symphony Orchestra, the Academy of St Martin in the Fields, the Royal Philharmonic Orchestra and the BBC Scottish Symphony Orchestra, as well as the European Union Chamber and English Chamber orchestras. She has also given debuts in Holland, Germany, New Zealand, and in Australia with the Melbourne Symphony Orchestra in the opening concert of the inaugural BBC Proms Australia. Recent highlights also include recitals at the Tonhalle Zürich, at Wigmore Hall and at the Musashino Cultural Foundation in Japan, as well as her participation at the music festivals of West Cork, Mecklenburg-Vorpommern and Krzyżowa Music.
Laura’s 2018 debut album 1948, featuring Russian music for cello and piano with pianist Petr Limonov, won the 2018 Edison Klassiek Award (broadcast live on Dutch TV) and the 2019 BBC Music Magazine Newcomer Award. The CD has been hailed as a ‘dazzling, imaginative and impressive’ debut recording.
Chamber music is immensely important to Laura: she has collaborated with Tom Poster, Huw Watkins, Petr Limonov, Katya Apekisheva, Matthew MacDonald and Krzysztof Chorzelski, and regularly participates in international chamber music courses and festivals.
Laura graduated from Cambridge University in 2019, and is in the middle of a busy 2019/20 season which sees her perform with the BBC National Orchestra of Wales in Aldeburgh, the Tchaikovsky Symphony Orchestra in Moscow, the BBC Philharmonic Orchestra and Prague Symphony Orchestra in the UK, and the Los Angeles Philharmonic in the US. Today’s concert is her debut with the London Philharmonic Orchestra.
Laura plays a late 17th-century cello by Francesco Ruggieri of Cremona, on generous loan from a private collection.
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Programme notes
Speedread Works by three meticulous and conscientious musical craftsmen make up this afternoon’s programme – though the results sound as effortless as anything. The opening bars for the ‘Hebrides’ Overture came fully-formed into Mendelssohn’s head during a holiday in Scotland, but he spent another three years honing and finishing the piece; Haydn’s Cello Concerto comes from a joyful period of early
Felix Mendelssohn
self-discovery as a composer working with friends, but though full of life, it never loses its poise or composure; and in his powerful Fourth Symphony Brahms reached a triumphant summit not only in his own response to the challenge thrown down by the symphonies of Beethoven, but also in the canon of Romantic orchestral music as a whole.
Hebrides Overture, Op. 26 (Fingal’s Cave)
1809–47
With his meticulous craftsmanship and formal balance, Mendelssohn stands as one of the most Classicallyinclined of the major 19th-century composers, yet he was also prone to moments of spontaneous Romantic inspiration. This was certainly the case when he visited Scotland in the company of his friend Karl Klingemann in the summer of 1829; in July they were at Holyrood Palace and Mendelssohn, in his own words, ‘found the beginning of my “Scottish” Symphony [No. 3]’; and on 7 August a visit to the Western Isles had the composer writing home from Tobermory that ‘in order to make you understand how extraordinarily the Hebrides have affected me, I have written down the following which came into my mind’. What followed was the opening ten bars of the Hebrides Overture. But this was a holiday, and Mendelssohn was not in Scotland to write music. The day after the letter, he took a boat trip to the Isle of Staffa ‘with its strange basalt pillars and caverns’, and it was not until December 1830 (in Rome!) that he completed the work, entitling it Die einsame Insel (‘The Lonely Isle’). 8 | London Philharmonic Orchestra
Revisions followed – Mendelssohn, fighting to reconcile the Classical and the Romantic, was concerned that it tasted ‘more of counterpoint than of train oil, seagulls and salted cod’ – and the version of the Overture as we know it now, with its dual title of Die Hebriden (‘The Hebrides’) and Fingalshöhle (‘Fingal’s Cave’, after Staffa’s best-known landmark) only emerged in 1832. Mendelssohn’s original thematic idea remained as the work’s opening, its gently rolling melodic outline and atmospheric accompaniment surely conjuring as instant a vision of the sea as its composer could have hoped for. Its melancholy falling six-note motif dominates the tenminute work, a warm and shapely rising second theme (first heard on cellos and bassoons) notwithstanding, and undergoes a number of mood-changes. A storm blows up briefly in the central development section, but calm is soon restored, especially in the second theme’s restful return on clarinet, before the coda raises a final squall, again quickly quieted.
Joseph Haydn 1732–1809
For all their manifest charm and freshness, Haydn’s concertos do not occupy the same crucial position in his output as his symphonies and string quartets. While the latter were nothing less than central to the development of Haydn as an artist – and by extension to Western classical music as a whole – the concertos marked no comparable progress, the burden of the genre’s status as the most popular instrumental form of the previous 50 years perhaps proving hard to shake off. As a result, his output of concertos – most of which date from his early years as director of the little orchestra maintained by the princely Esterházy family in the 1760s – is relatively conservative and content, it seems, with adopting the received and trusted formal procedures of the Baroque. Yet for all that, Haydn’s concertos do bear eloquent testimony to his compositional skill and workmanship, stand favourable comparison with those of the other leading figures of his time, and in some cases reach a level of inspiration that few contemporaries could match. Of the concertos Haydn wrote for his friends in the Esterházy orchestra not all survive, but we know that there was at least one each for flute, harpsichord and double bass, four for violin, and two each for horn and for cello. The lucky recipient of the two cello concertos was almost certainly Joseph Weigl, a young Bavarian-
Cello Concerto No. 1 in C major Laura van der Heijden cello 1 Moderato 2 Adagio 3 Allegro molto
born virtuoso who had been appointed to the orchestra in 1761 on Haydn’s recommendation, and who stayed there until he left to join the band of Vienna’s Kärntnertortheater in 1769. Haydn and his wife stood as godparents to two of Weigl’s children, one of whom subsequently became a successful opera composer. One of the two concertos Haydn wrote for Weigl is sadly lost, and even tonight’s work was only rediscovered in 1961, since when it has achieved a popularity that outshines not only the composer’s previously more familiar D major Cello Concerto of 1783 (not written for Weigl), but the rest of his concerto output as well. The course of the first movement follows the basic plan familiar from many a Baroque solo concerto, in which a recurring full-orchestra passage (known as a ritornello) separates extended passages for the soloist which often use material from the ritornello as their starting-point. In this case the ritornello’s strong march-like opening theme and the sinuous tune that follows on from it prove especially fruitful. The slow movement is one of Haydn’s warmest melodic inspirations, with cello and orchestra discussing and elaborating its aria-like theme in perfect and tender accord, after which the finale fizzes with energy, giving the soloist’s technique a good runout and bringing this sprightly Concerto to a scampering finish.
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
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Programme notes continued
Johannes Brahms 1833–97
Brahms was well into his forties by the time he completed a symphony; like many 19th-century composers he found the idea of following in the footsteps of Beethoven a daunting one. Yet having laboured on and off for 15 years to produce the First Symphony in 1876, he summoned the next three in only nine years, the expressive and formal inhibitions which had previously dogged him now seemingly cast off. Indeed, by the time he came to compose the Fourth Symphony in 1884–5 he had acquired new freedom and daring, as his friend the conductor and pianist Hans von Bülow noted during preparations for the premiere in Meiningen in October 1885: ‘Just back from rehearsal. No. 4 stupendous, quite original, quite new, individual and rock-like. Breathes incomparable energy from start to finish.’ No-one could deny that, though there were others among Brahms’s friends – including three of his closest supporters in Clara Schumann, Elisabeth von Herzogenberg and the critic Eduard Hanslick – who were initially baffled and disappointed by the work’s unusual nature and form. Bülow, however, had had an insight into its most striking innovation a few years earlier when Brahms showed him a chorus from Bach’s church cantata Nach dir, Herr, verlanget mich (BWV150), consisting of variations over a repeating, rising bassline. ‘What would you think of a symphonic movement written on this theme one day?’ Brahms had asked. ‘But it is too heavy, too straightforward. It would have to be chromatically altered in some way.’ The result is there to hear – including that chromatic alteration in the form of a prominent sharpening of the fifth note – in the extraordinary passacaglia finale of this symphony, a movement which, by turning to a formal model from Baroque times, finds a new solution to the problem of how to conclude a big and powerful symphonic work.
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Symphony No. 4 in E minor, Op. 98 1 2 3 4
Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato
But it is not just this granitic statement that makes the Fourth one of the greatest of Romantic symphonies. There is the tightly motivic first movement, whose marking of Allegro non troppo is realised not just in the restless poetic beauty of the first theme but in the way that the second theme, a surging, passionate cello melody heralded by brass fanfares, serves to increase the sense of forward motion rather than (as was more customary) relax it. Perhaps for the same reason, there is no repeat of the exposition, though the central development does start out as if it were one with a clear return to the opening theme. By contrast, the moment of recapitulation is disguised, the opening figure being heard slowed down on woodwind amid a cloud of string flourishes, before the first theme resumes its course as if nothing had happened. A substantial and impassioned coda then drives the movement to a stormy finish. The elegiac and delicately scored Andante moderato gains depth by playing off the emotional distance of a modally inflected main theme against the warmth of a more conventionally major-key second. The reappearance of the latter on full strings in the second half of the movement forms a rich climax, before the music subsides to the sombre mood of the opening. The third movement, the only one among Brahms’s symphonies to qualify as a scherzo, is taut and vigorous – powerful enough in its material, it has often been said, to form a finale in itself. Interestingly, it was the last of the Symphony’s movements to be composed, which suggests that its terse energy and ebullience (it was not often that Brahms called for a triangle) were precisely calculated to prepare the way for the stern majesty of the finale.
The form and genesis of that finale have already been described, but not its effect. Following the example of Bach’s D minor Chaconne for solo violin (a work Brahms admired greatly), the 30 variations over the eight-note bass-line are shepherded into contrasting sections which give the music a broad emotional contour that prevents it from succumbing to repetitiveness. Indeed, the effect is of implacable momentum and controlled strength, so that by the time the variations have been crowned by a vehement coda, we have witnessed a rare spectacle: a 19th-century symphony that ends not in triumph but convincingly in tragedy. Programme notes © Lindsay Kemp
Still to come this season at Eastbourne’s Congress Theatre Sunday 23 February 2020 | 3.00pm
Sunday 19 April 2020 | 3.00pm
Mozart Overture, The Magic Flute Sibelius Violin Concerto Dvořák Symphony No. 8
Beethoven Overture, Fidelio Beethoven Piano Concerto No. 4 Beethoven Symphony No. 6 (Pastoral)
Ben Glassberg conductor Fanny Clamagirand violin
Matthew Coorey conductor Joanna MacGregor piano
Sunday 22 March 2020 | 3.00pm
Book online at eastbournetheatres.co.uk or call 01323 412000
Tchaikovsky Piano Concerto No. 1 Tchaikovsky Suite, Sleeping Beauty Tchaikovsky Fantasy Overture, Romeo and Juliet Matthew Wood conductor Igor Tchetuev piano
Season discounts of up to 20% available
London Philharmonic Orchestra | 11
Brahms Symphonies on the LPO Label Available on CD and to download
Symphonies Nos. 1 & 2
Symphonies Nos. 3 & 4
Vladimir Jurowski conductor
Vladimir Jurowski conductor
LPO-0043 | £10.99 (2CD)
LPO-0075 | £9.99 (1CD)
'The Jurowski/LPO marriage abundantly exudes that rare joy in corporate music-making all too seldom encountered in this day and age.’ International Record Review
Complete Symphonies Nos. 1–4 (4-LP box set)
Symphonies Nos. 1 & 3
Vladimir Jurowski conductor
Klaus Tennstedt conductor
LPO–LP906 | £85.00
LPO-0068 | £10.99 (2CD)
‘No wonder the LPO loved Tennstedt. In these live recordings from the Royal Festival Hall, they respond like musicians possessed.’ The Sunday Times 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.
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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
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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 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
14 | 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 | 15
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
16 | 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