London Philharmonic Orchestra 23 February 2020 Eastbourne concert programme

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 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

Congress Theatre, Eastbourne Sunday 23 February 2020 | 3.00pm

Mozart Overture to The Magic Flute, K620 (6’) Sibelius Violin Concerto in D minor, Op. 47 (31’) Interval (20’) Dvořák Symphony No. 8 in G, Op. 88 (36’)

Ben Glassberg conductor Fanny Clamagirand violin

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 Welcome

Orchestra news 3 On stage today 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Ben Glassberg 7 Fanny Clamagirand 8 Programme notes 11 Dvořák on the LPO Label

Next concerts 12 LPO Annual Appeal 2019/20 13 Sound Futures donors 14 Supporters 16 LPO administration

Welcome

Orchestra news

Welcome to the Congress Theatre, Eastbourne

New this month on the LPO Label

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 Orchestra 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.

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.

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 Festival 2020 Glyndebourne’s first production of Poulenc’s Dialogues des Carmélites will open the 2020 Festival on 21 May. Glyndebourne Music Director Robin Ticciati will conduct the London Philharmonic Orchestra and a cast led by soprano Danielle de Niese. The 2020 Festival also sees the return of Stravinsky’s comedy The Rake’s Progress, with Czech conductor Jakub Hrůša at the helm of the LPO. Also featuring the LPO this season are revivals of David McVicar’s production of Mozart’s Die Entführung aus dem Serail conducted by Nicolas Carter, and Annabel Arden’s production of Donizetti’s romantic comedy L’elisir d’amore under Enrique Mazzola. Booking opens on Sunday 8 March. glyndebourne.com Glyndebourne Opera Cup 2020 As Resident Symphony Orchestra of Glyndebourne Festival Opera, the LPO has been invited to accompany the final of the prestigious Glyndebourne Opera Cup on Saturday 7 March, which will also be broadcast live on Sky Arts. The competition is open to all singers under the age of 21 and offers a top prize of £15,000 and a guaranteed role at a leading international opera house.

Preliminary rounds took place in Cape Town, Berlin, London, Milan, Paris, Vienna and New York, and the six finalists and their chosen repertoire will be confirmed after the Semi-Final on Wednesday 4 March. glyndebourne.com/operacup

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On stage today

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Chair supported by The Candide Trust

Lasma Taimina Katalin Varnagy Chair supported by Sonja Drexler

Martin Hรถhmann Georgina Leo Evin Blomberg Eleanor Bartlett Morane Cohen-Lamberger Katherine Waller John Dickinson Maeve Jenkinson Second Violins Alexandra Lomeiko Guest Principal Kate Birchall Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Ashley Stevens Mathilde Gheorghiu Sheila Law Harry Kerr Alison Strange Jaime Hutchinson

Violas Ting-Ru Lai Principal Katharine Leek Stanislav Popov Daniel Cornford Richard Cookson Sarah Malcolm Julia Kornig Mark Gibbs Cellos Ilia Laporev Guest Principal Francis Bucknall David Lale Gregory Walmsley Elisabeth Wiklander Tom Roff Double Basses Sebastian Pennar Principal Hugh Kluger George Peniston Laura Murphy Flutes Harry Winstanley Guest Principal Imogen Royce Piccolo Imogen Royce

Oboes James Hulme Guest Principal Katherine Bryer

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal

Cor Anglais Katherine Bryer

Timpani Henry Baldwin Principal

Clarinets Thomas Watmough Principal

* Holds a professorial appointment in London

Chair supported by Roger Greenwood

Paul Richards* Bassoons Jonathan Davies Principal

Meet our members: lpo.org.uk/players

Chair supported by Sir Simon Robey

Simon Estell* Horns John Ryan* Principal Stephen Craigen Guest Principal Martin Hobbs Elise Campbell Gareth Mollison

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert:

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

James Fountain* Principal Trombones David Whitehouse Principal Duncan Wilson

The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport William & Alex de Winton Friends of the Orchestra Dr Barry Grimaldi Countess Dominique Loredan Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Eric Tomsett

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.

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The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2019 we celebrated the music of Britain in our festival Isle of Noises, exploring music from and inspired by the British Isles, from Purcell to the present day. February 2020 sees the launch of a new series entitled 2020 Vision, which features some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier.

The London Philharmonic Orchestra enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sellout audiences worldwide.

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. We recently celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential.

Our dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians.

The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega

The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label.

There are now over 100 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 4 conducted by Vladimir Jurowski, Mozart chamber works with LPO Principal players, and Ravi Shankar’s only opera, Sukanya.

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra.

Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau.

Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy.

In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London.

Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

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Ben Glassberg conductor

This was Ben Glassberg’s first outing as music director of the Glyndebourne Tour and a better statement of intent would be hard to imagine ... here they fizzed with energy as the young conductor fused the music’s blend of comedy and emotion. © Gerard Collet

Mark Valencia, Opera Magazine

British conductor Ben Glassberg first came to international attention when he won the Grand Prix at the 55th Besançon Young Conductors’ Competition in 2017, at the age of 23. Since then he has made debut appearances with orchestras such as the Royal Philharmonic Orchestra, Orchestre Philharmonique de Radio France, Detroit Symphony Orchestra, St Petersburg Symphony Orchestra and Orchestre de Chambre de Paris. He has conducted performances of Die Zauberflöte at La Monnaie, Brussels and this year has seen him make his debut at the Salzburg Festival and with English National Opera, conducting Hansel and Gretel. A regular at Glyndebourne Festival Opera, Ben conducted a performance of La clemenza di Tito in summer 2017, making him one of the youngest conductors to debut at the Festival in its history, and he returned in summer 2018 to conduct performances of Madama Butterfly with the London Philharmonic Orchestra, and in the autumn of 2018 to conduct La Traviata: Behind the Curtain.

As of the 2019/20 season, Ben is Associate Guest Conductor of the Orchestre National de Lyon and Principal Conductor of Glyndebourne On Tour, conducting Donizetti’s L’elisir d’amore. Earlier this month he made his London Philharmonic Orchestra Royal Festival Hall debut conducting the Orchestra in a family concert featuring works by Beethoven. This season he also makes his debut with the BBC Symphony Orchestra, and returns to La Monnaie to conduct performances of Le Nozze di Figaro, Don Giovanni and Così fan tutte.

He will also give his first concerts conducting the Tokyo Symphony Orchestra and the Deutsche Radio Philharmonie.

6 | London Philharmonic Orchestra

Fanny Clamagirand violin

Clamagirand’s wonderful litheness and clarity won me over immediately.

© Jean-Baptiste Millot

David Milsom, The Strad (Saint-Saëns: Violin Music Vol. 2 on Naxos)

Fanny Clamagirand has established herself as an artist of great distinction on the international stage and is considered to be one of the finest violinists of her generation. Her elegance, the brightness of her playing, and the sensitivity and authority of her interpretations have received much critical praise. She currently receives the support of Anne-Sophie Mutter.

Fanny was taught by Larissa Kolos, before joining Jean-Jacques Kantorow’s postgraduate course at the Paris Conservatoire in 2000. In 2003 she went on to study with Itzhak Rashkovsky at London’s Royal College of Music, where she obtained her Artist’s Diploma in 2004. She was subsequently coached by Pavel Vernikov at the Vienna Conservatory and at the Scuola de Musica di Fiesole in Italy.

Acclaimed First Prize Winner of the 2007 Monte-Carlo Violin Masters, First Prize Winner of the 2005 Fritz Kreisler Competition, Special Jury Prize Winner at the 2000 Yehudi Menuhin Competition and First Prize Winner at the 1995 Louis Spohr Competition, Fanny has been invited to perform on such renowned stages as London’s Wigmore Hall, Berlin Konzerthaus, Vienna Konzerthaus, Vienna Musikverein, the KKL Luzern, Copenhagen DR Konzerthuset, Tokyo’s Toppan Hall, Taipei National Concert Hall, New York’s Carnegie Hall, Rio de Janeiro’s Teatro Municipal and the Théâtre des Champs-Elysées in Paris, and at festivals including Radio France (Montpellier), Verbier, Lucerne, Enescu (Bucharest), Menuhin (Gstaad), Lockenhaus Kammermusikfest, Les Palais de Saint-Pétersbourg, West Cork Chamber Music Festival, New York Chelsea Music Festival and the Societa’ dei Concerti in Milan.

Fanny last appeared with the LPO in 2012, performing Mendelssohn’s Violin Concerto in Brighton and Eastbourne under Fabien Gabel. Other orchestras with whom she has performed as soloist include the Vienna Philharmonic, Monte-Carlo Philharmonic, Orchestre National de France, Malmö Symphony, Jerusalem Symphony, Munich Symphony, Danish Radio Symphony and Vienna Chamber orchestras, alongside conductors and artists including Franz Welser-Möst, Tugan Sokhiev, Alain Altinoglu, John Storgårds, John Axelrod, Gidon Kremer, Anne-Sophie Mutter, Antoine Tamestit, Maxim Rysanov, Khatia Buniatishvili, Adam Laloum, Nicholas Angelich, Pieter Wispelwey and Julian Bliss.

A regular guest on French and international radio and TV shows, Fanny appeared in the Arte TV ‘Stars of Tomorrow’ TV programme hosted by tenor Rolando Villazón. In 2017 the radio station France Musique broadcast live her world premiere performance of the Violin Concerto Missing by Édith Canat de Chizy, with the Orchestre National de France under the direction of John Storgårds.

Fanny’s discography includes Ysaÿe’s Six Solo Sonatas (Nascor, 2007), Saint-Saëns’s Three Violin Concertos (Naxos, 2010: Classica magazine ‘Choc’) and SaintSaëns’s complete violin and piano works (Naxos, 2013), and has received high praise and distinctions from the music press. Her most recent album features Beethoven’s Violin Concerto and Pēteris Vasks’s Distant Light, both recorded in London with the English Chamber Orchestra under Ken-David Masur for the Mirare label.

Fanny plays a Matteo Goffriller violin made in Venice in 1700.

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Programme notes

Speedread An overture, a concerto and a symphony: three of the oldest forms in classical music. Together they’ve become the classic recipe for a satisfying concert.

But like a kaleidoscope, this simple format can take on an infinity of moods and colours. Each composer in today’s programme was working within a wellestablished tradition. Yet, like any truly original artist, each of them took the classical form – overture, concerto or symphony – and re-invented it on their own terms, stamping it with their own unmistakable personality and imagination.

Wolfgang Amadeus Mozart

Mozart opens his final opera with an overture that makes the noblest of human aspirations feel as light and as life-enhancing as a joke. Sibelius takes the 19th-century violin concerto, with its high romance and dazzling fireworks, and washes it in the pure, glacial spring water of Northern Europe. And Dvořák, having already proved himself a master, lets his own colours fly in a symphony that bubbles over with tenderness, sunlight and melody. In each case, the personal becomes universal: the secret of a masterpiece.

Overture to The Magic Flute, K620

1756–91

Five proud chords; three ceremonial knocks on the door.

It’s a suitably noble opening for a drama that deals with some of the loftiest ideals of humanist philosophy. But any of Mozart’s brother-members of the Masonic lodge Zur neugekrönten Hoffnung (‘New-Crowned Hope’) who were in the audience for his new opera Die Zauberflöte (‘The Magic Flute’) during the autumn of 1791 would have recognised the precise rhythm that a Mason of the rank of Fellow Craft had to knock during Lodge ceremonies. Just to make it absolutely clear, Mozart repeats his chords in the middle of the Overture, backed by trombones – the instrument that the 18th century associated with all that was solemn and sacred.

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A serious business. You could easily forget that Die Zauberflöte is also – in one sense - the brightest, sweetest and downright silliest comedy that Mozart ever wrote: practically a pantomime, if you believe some commentators. Die Zauberflöte isn’t just about the wisdom of Sarastro, the courage of Pamina or Prince Tamino’s quest for truth, knowledge and love. The playful humour of the birdcatcher Papageno is every bit as vital. To write a flying fugal Allegro, as Mozart well knew, took supreme craft. But to make it laugh and dance as joyfully as the Overture to Die Zauberflöte takes something more: enlightenment.

Jean Sibelius 1865–1957

‘I dreamt I was twelve years old, and a virtuoso violinist’, Jean Sibelius told his diary, wistfully, in 1915. It was a boyhood dream that had once looked like becoming a reality – in November 1890 he had auditioned for the violin section of the Vienna Philharmonic Orchestra.

‘Not at all bad’ noted the audition panel, before rejecting him because of his nerves. No wonder, then, that when he finally began to write a violin concerto of his own, the strain showed. ‘I’ve got some marvellous ideas for a violin concerto’ he told his wife Aïno, and he worked at the Concerto in Helsinki between September 1902 and September 1903.

But it didn’t go smoothly, and though he managed to wrestle the Concerto into shape, his confidence wavered even before it was premiered by a local violin teacher, Viktor Nováček, in Helsinki on 8 February 1904. Nováček struggled with the solo part; and the local critic Karl Flodin slated the new Concerto as ‘boring’. Sibelius immediately withdrew it, and devoted the summer of 1905 to a complete revision, cutting, trimming and re-shaping the Concerto into the work we know today.

It was premiered in its final form in Berlin in October 1905, by Karel Haliř, leader of the Berlin Philharmonic.

Richard Strauss was the conductor. Within two decades Sibelius’s Violin Concerto had entered the repertoire as one of the handful of concertos that every serious virtuoso simply has to tackle.

But it’s possible to see why those first listeners were so surprised. No concerto has quite the same mixture of fiery passion and glacial coolness; virtuosic display and elemental strength. Moments of nature-poetry alternate with gruff grandeur; yet the whole adds up

Violin Concerto in D minor, Op. 47 Fanny Clamagirand violin 1 Allegro moderato 2 Adagio di molto 3 Allegro, ma non tanto

to one of the most satisfying and gripping emotional journeys in 20th-century music. Take that first movement – it sweeps from its haunting, pianissimo opening (originally inspired by church bells in Italy, but utterly transformed into a desolate and profoundly northern cry of nature) through moments of luscious sentimentality (the violin swooning in double-stopped thirds and sixths) to stirring, storm-blown orchestral climaxes. Despite all the drama, and one of the most fiendishly difficult solo parts in any violin concerto, it feels inevitable; even natural. On one of the sketches for this movement, Sibelius actually drew a sunrise – with the slurs over the notes transformed into wheeling seagulls.

Keening pairs of woodwinds and quiet drumrolls open the Adagio coolly, making the violin’s deep, richly expressive melody seem all the more of a contrast.

The movement unfurls into a lyrical and warmly romantic interlude. Some listeners have heard it – like Sibelius’s Second Symphony – as a reflection of his recent travels in the warm climate of Italy. The finale, though, comes as a release: a dance, though it’s anything but lightweight. In 1935 the British critic Donald Tovey dubbed it a ‘polonaise for polar bears’, and every writer on the Concerto since has borrowed his phrase. Perhaps the violin’s glittering gymnastics make the climate of this movement too warm for polar bears – but there’s a definite chill in the gales that rise through the Concerto’s closing pages. If Sibelius is drawing a line under his own dreams of becoming a violinist, he does so with one of the simplest and most decisive endings even he ever wrote.

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

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Programme notes continued

Antonín Dvořák 1841–1904

You’ll have heard of Dvořák’s ‘New World’ Symphony; now hear his English Symphony. Dvořák’s publisher Fritz Simrock, like a lot of 19th-century Germans, didn’t take Czechs very seriously. Simrock had profited handsomely from Dvořák’s Slavonic Dances, but he was sure he could sell even more if only the composer’s name wasn’t so – well, foreign. It couldn’t do any harm, surely, to shorten Dvořák’s Czech Christian name Antonín to the solidly German ‘Anton’? Dvořák disagreed. ‘Do not laugh at my Czech brothers and do not be sorry for me either … Forgive me, but an artist is entitled to have his own country, in which he can believe and which he can love.’

Taking his new Symphony off the table, he offered it instead to a different publisher, Novello, in a country where Dvořák felt appreciated for who he was: England.

But if we don’t tend to call this Symphony ‘The English’ nowadays, there’s good reason. Dvořák’s protest has made its point. From beginning to end, the spirit of this Symphony is cheerfully and unashamedly Czech. By that summer of 1889, Dvořák‘s music had been performed across Europe. He had an assured income, state honours, and the friendship of his idol Brahms. And most importantly, he had proven himself artistically. With his Sixth (1880) and Seventh (1885) symphonies, Dvořák had finally achieved the summit of a 19th-century composer’s ambition, with two inspired, powerful symphonies, as perfectly structured as any since Beethoven.

So the Eighth is more than just a great 19th-century symphony in true Classical form; it’s a self-portrait of the composer and his world. And when that composer is Dvořák, one thing is certain: he’s not going to stint on melody. ‘I’d be glad if something occurred to me as

Symphony No. 8 in G, Op. 88 1 Allegro con brio 2 Adagio 3 Allegretto grazioso 4 Allegro ma non troppo

a main theme that occurs to Dvořák only by the way’ gasped Brahms. Cellos and horns offer up a solemn opening prayer; then the sun glints through the clouds, the birds sing (flute), the strings begin to dance and with a brilliant rush and a flourish of drums, the Symphony’s on its way, and Dvořák has already laid down enough material for an entire first movement.

There are storms along the way – but also birdsong (Dvořák worked on the Symphony amid the dovecotes and copses of his beloved country home at Vysoká) – before the movement slams cheerfully to a halt with the most unpretentious ending imaginable.

The Adagio gets even more personal; tender, darkhued music for a summer twilight. But those birds and dancers won’ t be shut out, and a sweet violin solo ushers in the unmistakable strains of the ‘village music’ Dvořák loved so much. He can barely contain himself – before we know it, Dvořák’s enthusiasm for his rural idyll is bubbling over again in ringing trumpets and cascading strings. Simrock, meanwhile, if he had but realised it, could have had another global hit with the Allegretto grazioso – a deliciously poised slavonic dance, topped off with yet another surge of fizzing enthusiasm.

And now the trumpets ring out again – not as a call to action, but as a summons to a festival procession. This is a theme and variations, meaning that the steady, dignified tune first played by the cellos gets a series of increasingly colourful makeovers from the rest of the orchestra. Finally Dvořák lets rip and throws everything he has at the Symphony’s final flurry. The brass whoop for joy as the whole orchestra scrambles exuberantly for the finish.

Programme notes © Richard Bratby

10 | London Philharmonic Orchestra

Dvořák’s Symphony No. 8 on the LPO Label Dvořák Symphony No. 8 Dvořák Symphonic Variations Sir Charles Mackerras conductor London Philharmonic Orchestra LPO-0055 | £9.99 Recorded live at Southbank Centre’s Royal Festival Hall on 24 April 1992

‘The LPO is inspired ... one of those concert performances in which everything comes off with a certainty and confidence that is in itself noteworthy, and which here also gets to the very core of Dvořák’s music.’ Colin Anderson, Classicalsource.com CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Primephonic, Spotify, Apple Music, Idagio and others.

Still to come this season at Eastbourne’s Congress Theatre Sunday 22 March 2020 | 3.00pm

Sunday 19 April 2020 | 3.00pm

Tchaikovsky Piano Concerto No. 1 Tchaikovsky Suite, Sleeping Beauty Tchaikovsky Fantasy Overture,

Beethoven Overture, Fidelio Beethoven Piano Concerto No. 4 Beethoven Symphony No. 6 (Pastoral)

Romeo and Juliet

Matthew Wood conductor Igor Tchetuev piano

Matthew Coorey conductor Joanna MacGregor piano The new 2020/21 season brochure will be available at the 19 April concert.

Book online at eastbournetheatres.co.uk or call 01323 412000 Season discounts of up to 20% available

London Philharmonic Orchestra | 11

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

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

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.

The LPO Ticket Office will process over 7500 tickets for primary school children to experience a live orchestral concert.

560

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

For every rehearsal and every concert, the on-the-road team will load and unload over four tonnes of instruments and flight cases … twice.

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Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Lady Jane Berrill Welser-Möst Circle Mr Frederick Brittenden William & Alex de Winton David & Yi Yao Buckley John Ireland Charitable Trust Mr Clive Butler The Tsukanov Family Foundation Gill & Garf Collins Neil Westreich Mr John H Cook Tennstedt Circle Mr Alistair Corbett Valentina & Dmitry Aksenov Bruno De Kegel Richard Buxton Georgy Djaparidze The Candide Trust David Ellen Michael & Elena Kroupeev Christopher Fraser OBE Kirby Laing Foundation David & Victoria Graham Fuller Mr & Mrs Makharinsky Goldman Sachs International Alexey & Anastasia Reznikovich Mr Gavin Graham Sir Simon Robey Moya Greene Bianca & Stuart Roden Mrs Dorothy Hambleton Simon & Vero Turner Tony & Susie Hayes The late Mr K Twyman Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO ManageRose & Dudley Leigh ment Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss SuDuncan Matthews QC zanne 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 Sir Bernard Rix The Maurice Marks Charitable Trust David Ross & Line Forestier (Canada) Mr Paris Natar Carolina & Martin Schwab The Rothschild Foundation

Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra | 13

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

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 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 | 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 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

16 | London Philharmonic Orchestra

Anna Quillin Trusts and Foundations Manager Izzy Keig Development Assistant Lewis Hammond Development Assistant ~ Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager Alexandra Lloyd Projects and Residencies Marketing Manager Megan Macarte Box Office Manager (Tel: 020 7840 4242) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Georgie Gulliver Marketing Assistant

Public Relations Premier classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335 Archives Philip Stuart Discographer Gillian Pole Recordings Archive Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Composer photographs courtesy of the Royal College of Music, London.

Cover artwork Design: Ross Shaw @JMG Studio Illustration: Brett Ryder/Heart Agency Printer Cantate