London Philharmonic Orchestra 23 Mar 2019 concert programme

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NOISES Landmark classics inspired by the British Isles 1689 – 2019

Concert programme

lpo.org.uk

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 23 March 2019 | 7.30pm

Beethoven Overture, Egmont (8’) Elgar Cello Concerto in E minor, Op. 85 (26’) Interval (20’) Mahler Symphony No. 1 in D major (56’)

Edward Gardner conductor Kian Soltani cello

The timings shown are not precise and are given only as a guide.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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NOISES Contents 2 Welcome

Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Isle of Noises 8 Edward Gardner 9 Kian Soltani 10 Programme notes 13 Recommended recordings 14 LPO Player Appeal 2018/19 15 Next concerts 16 LPO 2019/20 season:

Now on sale 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

Orchestra news

LPO 2019/20 season

Welcome to Southbank Centre

Booking is now open for our new 2019/20 season, which begins in September. Pick up a season brochure as you leave this evening’s concert, visit lpo.org.uk/newseason to browse and book online, or call 020 7840 4200 to request a season brochure by post.

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, EAT, 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 2019 edition of Tune In, our free LPO magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, 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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Highlights of the new season include:

2020 Vision A new strand of concerts featuring some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier.

Beethoven 250th anniversary We will perform Beethoven’s first six symphonies alongside other rarer gems including his Cantata on the Death of Emperor Joseph II.

Wagner Ring Cycle: Siegfried We reach the third instalment of our Ring Cycle conducted by Vladimir Jurowski, described as ‘simply outstanding’ by The Guardian.

Isle of Noises continues Continuing our exploration of landmark classics inspired by the British Isles, our programmes include music by Walton, Vaughan Williams, Britten and Foulds, as well as a celebration of British cinema.

Celebrated artists We welcome an array of fine artists including Anne-Sophie Mutter, Igor Levit, Antonio Pappano, Susanna Mälkki, Edward Gardner, Diana Damrau, Sheku Kanneh- Mason, Nicola Benedetti and Anoushka Shankar.

Choral masterpieces The London Philharmonic Choir will join us for Verdi’s Requiem and Janáček’s Glagolitic Mass under Edward Gardner; Mahler’s Symphony No. 2 (Resurrection) under Vladimir Jurowski; Elgar’s The Apostles under Mark Elder; Walton’s Belshazzar’s Feast with Marin Alsop; and Fauré’s Requiem under Bertrand de Billy.

Browse the full season at lpo.org.uk/newseason

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Chair supported by The Candide Trust

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

Catherine Craig Thomas Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett

Grace Lee Rebecca Shorrock Amanda Smith Evin Blomberg Morane Cohen-Lamberger Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

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

Nynke Hijlkema Joseph Maher Ashley Stevens Helena Herford Robin Wilson Harry Kerr Kate Cole Alison Strange Violas David Quiggle Principal Richard Waters Co-Principal Susanne Martens Chair supported by Gill & Garf Collins

Benedetto Pollani Alistair Scahill Daniel Cornford

Stanislav Popov Isabel Pereira Martin Fenn Martin Wray Daisy Spiers Charles Cross Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Helen Rathbone Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Tom Walley Lowri Morgan Charlotte Kerbegian Laura Murphy Flutes Sue Thomas* Principal Chair supported by Victoria Robey OBE

Hannah Grayson Stewart McIlwham* Ian Mullin Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick* Principal Alice Munday Chair supported by Friends of the Orchestra

Cor Anglais Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets Robert Plane Guest Principal Thomas Watmough Emma Burgess Paul Richards* E-flat Clarinets Thomas Watmough Principal Chair supported by Roger Greenwood

Emma Burgess Bass Clarinet Paul Richards* Principal Bassoons Jonathan Davies Principal Gareth Newman Simon Estell* Contrabassoon Simon Estell* Principal Horns David Pyatt* Principal Chair supported by Sir Simon Robey

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Adam Howcroft Duncan Fuller Stephen Nicholls Jonathan Quaintrell-Evans Trumpets Paul Beniston* Principal Huw Morgan Guest Principal Anne McAneney* Chair supported by Geoff & Meg Mann

David Hilton Toby Street

Offstage Trumpets Robin Totterdell Tony Cross William O’Sullivan Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse Tom Berry Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Jeremy Cornes Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal Keith Millar Harp Rachel Masters Principal * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert: Laurence Watt

Amy Roberts Sue Böhling*

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The London Philharmonic’s closing concert took excellence and courageous programme planning to levels of expectation and emotional intensity more than once defying belief. Here was an orchestra in terrific form, rising to every challenge.

Classicalsource.com (LPO at Royal Festival Hall, 2 May 2018: Panufnik, Penderecki & Prokofiev)

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 performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own record 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. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015.

The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2018 our series

4 | London Philharmonic Orchestra

Changing Faces: Stravinsky’s Journey charted the life and music of one of the 20th century’s most influential composers, and in 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and British-inspired music from Purcell to the present day.

Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, 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 the 2018/19 season include 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.

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. In 2017/18 we 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. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO Young Composers programme; the Foyle Future Firsts orchestral training programme; and the LPO Junior Artists scheme for talented young musicians from communities and backgrounds currently underrepresented in professional UK orchestras.

The Orchestra’s work at the forefront of digital engagement and social media has enabled it to reach even more people worldwide: as well as a YouTube channel and regular 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 the soundtracks to numerous blockbuster films, 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 a Poulenc disc conducted by Yannick Nézet-Séguin, Tchaikovsky’s Symphonies Nos. 2 & 3 under Vladimir Jurowski, and a film music disc under Dirk Brossé.

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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dward Elgar never felt entirely comfortable at the top. As a new member of a London club, some time in the reign of Edward VII, a fellow composer – Sir Alexander Mackenzie, the well-connected head of the Royal College of Music – saw him dithering over the cheeseboard.

‘Why don’t you try the Port Salut?’ Mackenzie suggested, before lowering his voice to whisper, sarcastically ‘Salut d’Amour’. Elgar might have been knighted; he might have been acclaimed by Richard Strauss as Britain’s pre-eminent modern composer.

But his clubbable, expensively-educated British colleagues quietly noticed his awkwardness and his Worcestershire vowels. As to the fact that he’d written bestselling salon favourites like Salut d’Amour; well, they were too polite to suggest that it was just a little bit – you know – common. But once in a while, they’d give him a quick kick in the shins – just to remind him.

Elgar was a Roman Catholic – a faith that a mere 30 years before his birth had been denied full civil rights in the UK – and the more you dig into Elgar’s ‘Britishness’, the more complicated it gets. His music never quotes an English folk song even once; its roots are deep in the language of Brahms and Wagner. When Danny Boyle began the London 2012 Olympic opening ceremony with ‘Nimrod’ from the Enigma Variations (performed by the LPO on 9 November 2019), it was supposed to evoke a traditional, rural England. In fact, ‘Nimrod’ is a musical portrait of Elgar’s great friend August Jaeger – a German immigrant. The composer meant it to evoke not green and pleasant fields, but a slow movement

by Beethoven. For the ultimate statement of musical Britishness, it’s got surprisingly international roots.

Our 2019 Isle of Noises festival takes that paradox and revels in it. This is a celebration of British music that understands that even the most familiar masterpieces

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For nine decades the London Philharmonic Orchestra has been at the heart of music-making in London, in the British Isles and in Europe – and we know that there’s never been any one thing called ‘British music’.

Throughout 2019 we’ll be celebrating over three centuries of music in these islands: Richard Bratby introduces our new festival.

have a fascinatingly diverse heritage. Gustav Holst came from an immigrant family, and The Planets (23 October) is a journey towards blissful dissolution (nibbāna, if you like) that takes its philosophical basis from his lifelong fascination with Hindu and Buddhist scriptures.

Benjamin Britten might seem like the ultimate Establishment figure, and yes, he used to take tea at Sandringham with the Queen Mother. But the fact that a gay composer (and a conscientious objector into the bargain) could become such a national institution in his own lifetime gives pause for thought. His Violin Concerto (27 September) was written in the USA and draws on Britten’s interest in the Second Viennese School.

It’s a story that you encounter again and again throughout British music. The best pieces are the unexpected and obstinate ones, the hybrids that push insolently up through the cracks. When Ralph Vaughan Williams composed his ballet Job (7 December), he called it a ‘Masque’, invoking the era of Purcell and Lawes because he didn’t like the idea of polite audiences commenting ‘oh, did you see God at the ballet?’ In the event, audiences expecting something soothing from the composer of The Lark Ascending saw a green, semi-naked Satan dancing to music of angular strangeness. The agnostic Vaughan Williams came from an oldestablished family

of liberal thinkers (he was related to Charles Darwin): he took his cues from William Blake.

Meanwhile, up north: ‘You’ll never hear the thing again, my boy, why not throw in a couple of brass bands?’ said the conductor Thomas Beecham to the 29-yearold William Walton, as he began work on a choral commission for the 1931 Leeds Festival. Walton did just that, and the result – Belshazzar’s Feast (9 November) – is still a shocker: jazzy, raucous, shamelessly pagan.

Walton’s chrome-plated self-assurance always played well in America. His Violin Concerto of 1939 (9 October) was written for the great American-Russian violinist Jascha Heifetz, and it has the streamlined, art-deco elegance of some great transatlantic liner. Not that British music needed to cross the Atlantic to hit the big time. The LPO’s evening of classic British film music (1 November) explores the curious fact that the most British love story of all time, Brief Encounter, uses music by Rachmaninoff – and that when another film, Dangerous Moonlight, tried to achieve the same effect, Richard Addinsell’s Warsaw Concerto proved almost indistinguishable from the real thing.

Throughout the Edwardian era Edward Elgar worked on a colossal trilogy of New Testament oratorios, each of them conceived as an emotional drama closer in spirit to Wagner or Verdi than Mendelssohn or Parry. He was deeply invested in the story, consulting Jewish liturgical experts about the sound of the shofar in The Apostles (26 October). (He later incorporated this ancient instrument into the score). The result wasn’t just one of the earliest examples of cultural crossover in British music; it was frankly and uncompromisingly passionate.

Vulgar, you might even say. ‘I’m told Mackenzie is foaming at the mouth about The Apostles’, wrote Jaeger to Elgar in 1903. This kind of thing just wasn’t British.

But if vulgarity means vitality, originality, diversity, it’s been British music’s saviour. Today, the most exciting British composers are those who transgress boundaries and explore new worlds: the late, much missed Oliver Knussen’s fascination with that great Russian eccentric Scriabin, or anything at all by Thomas Adès – a composer who believes that ‘Grand failures are preferable to sneaky successes’. Not that the UK premiere of his Piano Concerto (23 October) is likely to be anything other than a major event (and what does it say that he’s chosen to pair it with The Planets?).

British composer Thomas Adès, whose Piano Concerto receives its UK premiere on 23 October 2019.

There’s no white-walled evasion of taste in Adès’s music. ‘We have a very highly developed nose for phoniness’, he says. ‘We won’t just accept something as sublime or whatever just because it tells us it is.’

In other words, we just have to listen – and if the music has something about it, it’ll speak to us.

Isle of Noises ends with an outrage: the Dynamic Triptych by John Foulds (11 December). Foulds was born near Manchester, but moved to Delhi as head of music for the British Raj’s radio network. There, the servant of Empire let his own imagination be captured and transformed by the ancient culture he encountered, and although he died of cholera in 1939, leaving a trunkful of unperformed scores, the works he did complete are like nothing else in 20th-century music. It’s hard to describe the Dynamic Triptych. It’s an exuberant, supersophisticated, utterly vulgar mass of influences, ideas and contradictions – and it sounds fantastic. In other words, it couldn’t be more British. Be not afeard: the isle is full of noises, sounds and sweet airs, that give delight and hurt not. This is your music – discover it.

Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post.

For full concert details Pick up an Isle of Noises series leaflet as you leave tonight’s concert, or browse the full series online at lpo.org.uk/isleofnoises.

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Edward Gardner conductor

© Benjamin Ealovega

Edward Gardner’s powerful, impassioned conducting illuminated the life-and-death struggles of the score ...

At particularly dramatic moments, Gardner practically levitated off the podium, sometimes gripping his baton with both hands and flailing it as if wielding a weapon.

Seattle Times, 2 December 2016 (Elgar’s The Dream of Gerontius with Seattle Symphony Orchestra)

Chief Conductor of the Bergen Philharmonic since October 2015, Edward Gardner has led the orchestra on multiple international tours, including performances in Berlin, Munich and Amsterdam, and at the BBC Proms and the Edinburgh International Festival.

Edward is also in demand as a guest conductor: the 2017/18 season saw debuts with the New York Philharmonic, San Francisco Symphony, Finnish Radio Symphony and Netherlands Philharmonic orchestras; and return visits to the Gewandhausorchester Leipzig, Deutsches Symphonie-Orchester Berlin, Danish National Symphony Orchestra and Philharmonia Orchestra.

Next month Edward returns to the London Philharmonic Orchestra at Royal Festival Hall to conduct a programme of Debussy, Saint-Saëns and Ravel with pianist Stephen Hough (10 April: see page 13), followed by a tour to New York with the Orchestra and violinist James Ehnes.

Other highlights this season include re-invitations to conduct the Chicago Symphony, Netherlands Radio Philharmonic, Royal Stockholm Philharmonic and Orchestra del Teatro alla Scala di Milano. Debuts include dates with the WDR Sinfonieorchester Köln, Vienna Symphony, Rundfunk-Sinfonieorchester Berlin and Orchestre Nazionale Sinfonica della RAI, and a new production of Káťa Kabanová at the Royal Opera House.

He also continues his longstanding collaborations with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010–16, and the BBC Symphony Orchestra, whom he has conducted at both the First and Last Nights of the BBC Proms.

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Music Director of English National Opera for ten years (2006–15), Edward also enjoys an ongoing relationship with New York’s Metropolitan Opera, where he has conducted productions of Carmen, Don Giovanni, Der Rosenkavalier and Werther. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Glyndebourne Festival Opera and Opéra National de Paris. Opera-in-concert continues to be a part of his work with the Bergen Philharmonic, including an acclaimed Peter Grimes at the Bergen and Edinburgh International festivals.

A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain. He has a close relationship with The Juilliard School of Music and with the Royal Academy of Music, which appointed him its inaugural Sir Charles Mackerras Conducting Chair in 2014.

An exclusive Chandos recording artist, Edward Gardner’s award-winning discography includes music by Grieg, Bartók, Sibelius, Janáček, Elgar, Mendelssohn, Walton, Lutosławski, Britten, Berio and Schoenberg.

Born in Gloucester in 1974, Edward Gardner was educated at the University of Cambridge and the Royal Academy of Music. He went on to become Assistant Conductor of the Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include being named Royal Philharmonic Society Award Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009) and an OBE for Services to Music in the Queen’s Birthday Honours (2012).

Kian Soltani cello

He’s a remarkable cellist, with a piercingly beautiful tone and utterly pure intonation.

© Juventino Mateo

The Times, 30 October 2017 (Strauss’s Don Quixote with West-Eastern Divan Orchestra at Royal Festival Hall)

Described by Gramophone as ‘sheer perfection’, Kian Soltani’s playing is characterised by a depth of expression, sense of individuality and technical mastery, alongside a charismatic stage presence and ability to create an immediate emotional connection with his audiences. He is now invited by the world’s leading orchestras, conductors and recital promoters, propelling him from rising star to one of the most talked-about cellists performing today.

In 2017 Kian signed an exclusive recording contract with Deutsche Grammophon. His first disc, Home, comprising works for cello and piano by Schubert, Schumann and Iranian composer Reza Vali, was released to international acclaim in February 2018, with Gramophone describing the recording as ‘sublime’.

His recording of the Mozart Piano Quartets with Daniel and Michael Barenboim and Yulia Deyneka was released in August 2018.

Tonight’s concert is Kian Soltani’s debut with the London Philharmonic Orchestra, which will tomorrow be followed by a second performance of the Elgar Concerto with the Orchestra at Eastbourne’s Congress Theatre. Other debuts this season include the Vienna Philharmonic, Boston Symphony, Berlin Staatskapelle, Royal Stockholm Philharmonic, Orchestre National de Lyon and National Symphony Orchestra, Washington.

Kian recently appeared as the soloist on the WestEastern Divan Orchestra’s major US tour with Daniel Barenboim, performing at venues including Carnegie Hall, Walt Disney Hall, Symphony Center Chicago and Kennedy Center Washington. He also returns to the Tonhalle-Orchester Zürich, and in October 2018 commenced a season-long residency with the Residentie Orkest in The Hague.

Kian Soltani made his international breakthrough at the age of 19 with acclaimed debuts at the Vienna Musikverein’s Goldener Saal and the Hohenems Schubertiade. He attracted further worldwide attention in 2013 as winner of the International Paulo Cello Competition in Helsinki, where he was hailed by Ostinato magazine as ‘a soloist of the highest level among the new generation of cellists’. In February 2017 he won Germany’s celebrated Leonard Bernstein Award and in December 2017 he was awarded the prestigious Credit Suisse Young Artist Award.

As a recitalist, this season Kian Soltani makes his debut at Carnegie Hall, as well as returning to the Salzburg and Lucerne festivals, Wigmore Hall and Boulez Saal.

Further recital appearances include the Philharmonie de Paris, Vienna Konzerthaus, Amsterdam Concertgebouw, Elbphilharmonie Hamburg, Barbican Centre, Cologne Philharmonie, and Stockholm Concert Hall as part of the ECHO Rising Stars scheme.

Born in Bregenz, Germany, in 1992 to a family of Persian musicians, Kian began playing the cello aged four, and was only 12 when he joined Ivan Monighetti’s class at the Basel Music Academy. He was chosen as an Anne-Sophie Mutter Foundation Scholarship holder in 2014, and completed further studies as a member of the Young Soloist Programme at Germany’s Kronberg Academy. He received additional musical training at the International Music Academy in Liechtenstein.

Kian Soltani plays a cello by brothers Giovanni and Francesco Grancino made in Milan in 1680, on generous loan from the Merito String Instruments Trust.

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Programme notes

Speedread There is daring and glory aplenty in tonight’s programme. Those qualities are first encountered side-by-side in Beethoven’s music for Goethe’s drama Egmont. The play describes the life and times of a 16th-century Dutch warrior as he faces the despotic Duke of Alba. Providing a precis of the entire drama, Beethoven’s Overture leads with defiance from darkness to light. For Edward Elgar, writing his Cello Concerto in the immediate aftermath of the First World War, it was much more difficult to believe in glory. Having lost his Catholic faith and seen an entire generation wiped out in the Somme, Elgar wrote one

Ludwig van Beethoven

of his most intense elegies, though its mourning is often undercut by anger too. And there are storms over the horizon in Mahler’s First Symphony, with its nigh-tangible evocations of the natural world.

A kind of autobiography in symphonic form, it features music from Mahler’s childhood, including military parades and klezmer bands, as well as the sad songs he wrote to one of his youthful sweethearts. Yet for all the disappointment and darkness of these memories, Mahler is able to purge himself of doubt and offer a dazzlingly happy ending.

Overture, Egmont

1770–1827

Goethe’s Egmont concerns the life of the 16th-century Dutch warrior Lamoral, Count of Egmont, and his fight against the Spanish Duke of Alba. Egmont’s unstinting belief in freedom and justice led him to ultimate sacrifice, but it also ensured his position within the mythology of the Dutch nation. The quintessence of the proto-Romantic Sturm und Drang movement, Goethe’s historical drama first appeared in 1788, just as the young Beethoven was coming of age. And it was to Beethoven that the Burgtheater in Vienna turned in 1809, when its director asked the composer to provide incidental music for its new production. Although no fee was offered, Beethoven accepted, due to his ‘love of the poet’.

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His Overture offers a brilliant snapshot of the drama as a whole, as well as demonstrating the depth of Egmont’s psychological struggle. The initial use of the sarabande, a triple-time dance from the Iberian peninsula, hints at the roots of Egmont’s adversary.

Its insistent rhythms then continue in the Allegro section, with the cellos outlining a darkly plunging theme, which combines with a much terser, four-note violin motif. The latter sounds not unlike the recurrent tattoo in Beethoven’s Fifth Symphony, which had just received its premiere. Indeed, the Overture can also be seen as a sort of precis of that symphonic drama, as darkness is finally overcome and the music ends with a blaze of major-key glory.

Edward Elgar 1857–1934

On 24 May 1919, Henry Cope Colles, chief music critic of The Times and editor of the third and fourth editions of Grove’s Dictionary of Music and Musicians, wrote at length about three new chamber works by Edward Elgar that had recently been performed at Wigmore Hall.

‘Elgar’s music’, he opined, ‘is always autobiographical; but the life is not completed; it is the present which one looks for most eagerly in his latest work, and not the past. What has he to say now, and have the years stamped their meaning on him in any profound way?’

The answer to that question was to be found in Elgar’s next composition: his Cello Concerto.

Its predecessor, the Violin Concerto, first performed in 1910, had become one of Elgar’s most successful works. Passionate and brave, the Concerto, as his friend William Henry Reed recalled, ‘proved to be a complete triumph’. But by 1919, when Elgar began its successor, the years had indeed stamped their meaning on him in an overwhelming manner. Europe was just beginning to stagger to its feet after the worst war ever witnessed and, understandably, Elgar had been equivocal about the conflict, which had caused depressive feelings to resurface and worsened his health. All of this coloured Elgar’s music and, rather than returning to the mood of the Violin Concerto, he created a much more anguished work for cello and orchestra. Sadly, at least at its premiere on 27 October 1919, the piece perplexed more than it inspired.

The cello opens the Concerto with a series of broad chords and a pensive melodic fragment which is picked up by the clarinet. Silence follows, before the cello

Cello Concerto in E minor, Op. 85 Kian Soltani cello 1 Adagio – Moderato 2 Lento – Allegro molto 3 Adagio 4 Allegro – Moderato – Allegro, ma non troppo – Poco più lento – Adagio

utters a question (inverting the work’s initial gesture).

The strings’ answer meanders, almost absent-mindedly, before being repeated in a bruised and melancholy manner by the cello. A second section provides more animated music, though wistfulness remains. Only after the opening chords are stated again, pizzicato, does a new mood emerge and this skittish second movement, full of semiquavers, is at once joyful and nervous.

The Adagio recalls the Concerto’s initial question.

Here, however, nostalgia seems less restive, though the music features numerous backward glances, with echoes of the Violin Concerto, the Second Symphony and The Music Makers. The finale initially clings to the Adagio’s distant key of B flat major, before returning, via a harmonic sleight of hand, to E minor. What ensues is a determined attempt to live in the present, as indicated by the music’s ‘resolute’ marking. But that task proves far from simple and the last movement soon becomes as conflicted as its predecessors, swinging between tempos, metres and keys. And while there is joy along the way, sadness remains, not least in the Lento towards the end. Finally, Elgar offers a cruelly brusque return of the initial cello chords and caps the work in haste. It was to be the last major orchestral composition he completed, to be followed shortly thereafter by the death of his wife Alice, and 15 years of stymied ambitions and near silence. In short, the Cello Concerto was to become a requiem for both the war dead and Elgar’s wife, as well as for the composer’s failed hopes.

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

London Philharmonic Orchestra | 11

Programme notes continued

Gustav Mahler 1860–1911

There are many programmes lurking within Mahler’s First Symphony, which draws on a gamut of musical, literary and visual sources. These include the composer’s own song-cycle, the Lieder eines fahrenden Gesellen, featuring his own poetry; Jean Paul’s novels Titan and Siebenkäs; E.T.A. Hoffmann’s Fantasiestücke in Callots Manier; and a woodcut of a hunter’s funeral

by Schubert’s friend, the painter Moritz von Schwind.

Originally, the Symphony also included a movement entitled ‘Blumine’, drawing on an incidental score Mahler had written for a drama about a trumpeter during the Thirty Years War. Later, however, Mahler cut this movement and evaded any mention of extra-musical references for fear they would become sitting targets for critics. And yet they are all present in the music, collectively offering a bold continuation of the AustroGerman symphonic tradition as well as a wonderfully poetic evocation of the landscape of Central Europe.

The Symphony’s opening gestures, marked ‘Wie ein Naturlaut’ (‘As if from nature’), question how such a work should begin. An A, the note to which an orchestra typically tunes, sounds across several octaves – music for the dawn of a new world. Clarinets bubble and trumpets are heard in the distance. There are cuckoos too, their call alternating with both the fanfares and a nostalgic horn theme. The birds’ descending interval comes to introduce the tonic of D major as well as the principal theme, based on ‘Ging heut Morgen übers Feld’, the second song from Mahler’s Lieder eines fahrenden Gesellen. This is shared throughout the orchestra, describing the ‘schöne Welt!’ (beautiful world) of the original Lied. The brief development section brings darker colours, as does the recapitulation, with its threat of an F minor juggernaut. But Mahler rescues us from its clutches and, as horns whoop, the first movement closes in celebration.

12 | London Philharmonic Orchestra

Symphony No. 1 in D major 1 2 3

4

Langsam, schleppend – Immer sehr gemächlich Kräftig bewegt, doch nicht zu schnell – Recht gemächlich Feierlich und gemessen, ohne zu schleppen – Sehr einfach und schlicht wie eine Volksweise – Wieder etwas bewegter, wie im Anfang Stürmisch bewegt – Energisch

Contentment continues in the second movement, featuring a gutsy Ländler and a more amorous waltz, but the murkier tones return in the third movement, based on the nursery rhyme ‘Frère Jacques’ (known as ‘Bruder Martin’ in the German-speaking world). Its music describes Moritz von Schwind’s naive woodcut of a forester’s funeral, with the animals bearing their hunting foe to his grave. But this is not the only picture offered here, as Mahler recalls his Jewish origins with the offbeat cymbals and clarinets of a klezmer band. Finally, we return to the lovelorn Lieder eines fahrenden Gesellen, with music that originally described the blue eyes of Mahler’s distant beloved. And then all hell breaks loose.

When describing the Finale of his First Symphony, Mahler referred directly to Dante’s Inferno. The opening eruption, with double timpani, is certainly frenzied and rooted in the same F minor that threatened to overwhelm the first movement. Eventually, violence subsides and, after a passionate plea from the violins, Mahler introduces a new yearning theme in D flat major.

The nefarious forces then reappear, but their attack is countered by a fresh heroic theme. Sadly, this bid for victory proves premature. ‘I needed to turn back’, Mahler wrote, ‘for the whole being to touch rock bottom, before a real victory could be obtained’. Relics of previous movements are finally acknowledged, purged even, before the fanfare rules authoritatively. ‘The battle I was concerned with is the one in which victory is always furthest away when the fighter thinks it is at hand’, Mahler told Richard Strauss. ‘That is the essence of any spiritual combat. It is not easy to be or to become a hero.’

But when he finally succeeds – and D major is firmly re-established – the horn section rises to its feet to greet their champion.

Programme notes © Gavin Plumley

Recommended recordings

by Laurie Watt

Beethoven: Overture, Egmont London Philharmonic Orchestra | Klaus Tennstedt (LPO Label LPO-0085) Elgar: Cello Concerto Paul Tortelier | London Philharmonic Orchestra Adrian Boult (Warner) or Jacqueline du Pré | Philharmonia Orchestra John Barbirolli (Warner) Mahler: Symphony No. 1 London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0070: see below) or London Philharmonic Orchestra | Klaus Tennstedt (LPO Label LPO-0012: see below)

EDWARD GARDNER RETURNS NEXT MONTH Wednesday 10 April 2019 | 7.30pm Royal Festival Hall Debussy Iberia from Images Saint-Saëns Piano Concerto No. 5 (Egyptian) Ravel Mother Goose Suite Debussy La mer Edward Gardner conductor Stephen Hough piano

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Mahler’s Symphony No. 1 on the LPO Label Gustav Mahler Symphony No. 1 in D major (inc. ‘Blumine’) Vladimir Jurowski conductor London Philharmonic Orchestra £9.99 | LPO-0070

100+ recordings available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Apple Music, Amazon, Spotify and others.

Recorded live at Southbank Centre’s Royal Festival Hall on 4 December 2010

Gustav Mahler Symphony No. 1 in D major Lieder eines fahrenden Gesellen Klaus Tennstedt conductor Thomas Hampson baritone London Philharmonic Orchestra £9.99 | LPO-0012 Recorded live at Southbank Centre’s Royal Festival Hall on 12 February 1985 & 26 September 1991.

London Philharmonic Orchestra | 13

PLAYER APPEAL 2018/19 BE INSTRUMENTAL TO OUR FUTURE

At the London Philharmonic Orchestra we believe that together we are greater than the sum of our parts. Players, supporters, staff and audience members; this is your LPO and you’re the LPO. We want you to stand with us as we show and share with the world our rare and special passion for the timeless art of orchestral music.

WITH YOUR SUPPORT ...

WE CAN INVEST IN TALENT DEVELOPMENT

WE CAN MAINTAIN OUR GREAT OPERA HERITAGE

This feels incredibly relevant when working with the LPO’s Foyle Future Firsts and Young Composers.

Performing side-by-side with young players, playing the music of new composers is crucial.

Through my work with the LPO Junior Artists, musicians from currently underrepresented backgrounds, I see incredible talent in those young people. With your support we can help them navigate their journeys.

The players develop a real sense of camaraderie in the pit at Glyndebourne – how could we not when we’re that squashed in!?

By contrast, being able to see and interact with singers when we do something like the Ring Cycle at Royal Festival Hall makes for an incredibly exciting experience and brings opera to a wider audience. Please give your support to help us maintain this incredible strand of opera in concert.

KEVIN LIN, CO-LEADER

JULIETTE BAUSOR, PRINCIPAL FLUTE

WE CAN TAKE RISKS AS WE EXPLORE ADVENTUROUS WORKS

WE CAN SHARE THE POWER AND WONDER OF ORCHESTRAL MUSIC WITH THE As an LPO player you never WIDER WORLD sit for long with the same set of notes. It’s a great challenge. We have to raise our game constantly.

The demanding and exciting repertoire that you may associate with the LPO helps its players develop but also keeps our audiences on their toes and experiencing new things.

With your support we can continue sharing these experiences.

THOMAS WATMOUGH, PRINCIPAL E-FLAT CLARINET

I’ve played with the LPO in London, Eastbourne, Glyndebourne, Brighton and all over the world – it’s a thrilling ride!

Performing around the UK and the world, concert experiences are always different – that’s what makes it exciting. Please help us ensure that we can continue creating special, shared experiences throughout the UK and around the world.

ELISABETH WIKLANDER, CELLO

We are asking you to be instrumental in our future and in our ability to continue doing all that you know us for.

Donate online at lpo.org.uk/donate or call our Individual Giving Team on 020 7840 4212 or 020 7840 4225 to make a donation by credit or debit card.

14 | London Philharmonic Orchestra

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Gala evening with Juan Diego Flórez Bax Tintagel Popular tenor arias from worldGrieg Piano Concerto famous operas Sibelius Suite, Belshazzar’s Feast Sibelius Symphony No. 5 Sascha Goetzel conductor Juan Diego Flórez tenor Osmo Vänskä conductor Jan Lisiecki piano

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London Philharmonic Orchestra | 15

OTHER WORLDS 2019/20 Concert season at Southbank Centre’s Royal Festival Hall 2020 Vision

A new strand of concerts featuring some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier.

Beethoven 250th anniversary

Beethoven’s first six symphonies and rarer gems including his Cantata on the Death of Emperor Joseph II.

Isle of Noises continues

Landmark classics inspired by the British Isles, including the music of Walton, Vaughan Williams, Britten and Foulds.

Celebrated artists

Including Anne-Sophie Mutter, Antonio Pappano, Susanna Mälkki, Edward Gardner, Igor Levit, Diana Damrau, Sheku Kanneh-Mason, Nicola Benedetti and Anoushka Shankar.

ON SALE NOW LPO.ORG.UK/NEWSEASON 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 & Lisa Fraser 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 AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra | 17

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 Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich The Tsukanov Family Dr James Huang Zheng (of Kingdom Music Education Group) Principal Associates Gabor Beyer, through BTO Management Consulting AG In memory of Ann Marguerite Collins Mr & Mrs Makharinsky Associates Steven M. Berzin Richard Buxton Kay Bryan William & Alex de Winton Mrs Irina Gofman Countess Dominique Loredan George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons David & Yi Buckley John Burgess In memory of Allner Mavis Channing Gill & Garf Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Hamish & Sophie Forsyth Virginia Gabbertas MBE Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Rehmet Kassim-Lakha de Morixe

Geoff & Meg Mann Sally Groves & Dennis Marks Robert Markwick & Kasia Robinski Melanie Ryan Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt Silver Patrons Dr Christopher Aldren Peter Blanc Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Will & Kate Hobhouse Matt Isaacs & Penny Jerram John & Angela Kessler The Metherell Family Simon Millward Mikhail Noskov & Vasilina Bindley Susan Wallendahl Guy & Utti Whittaker Bronze Patrons Anonymous donors Michael Allen Andrew Barclay Mr Geoffrey Bateman Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Desmond & Ruth Cecil Mr John H Cook Andrea d’Avack Bruno De Kegel Mr John L G Deacon David Ellen Ignor & Lyuba Galkin David Goldberg Mr Daniel Goldstein David & Jane Gosman Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home

18 | London Philharmonic Orchestra

Mr James R. D. Korner Rose & Dudley Leigh Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Jacopo Pessina Mr Roger Phillimore Mr Michael Posen Tatiana Pyatigorskaya Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr Christopher Stewart Mr & Mrs John C Tucker Andrew & Rosemary Tusa Mr & Mrs John & Susi Underwood Marina Vaizey Ms Jenny Watson CBE Grenville & Krysia Williams Christopher Williams Ed & Catherine Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Margot Astrachan Mr Philip Bathard-Smith Mr Edwin Bisset Dr Anthony Buckland Mr & Mrs Stewart Cohen Sir Alan Collins KCVO David & Liz Conway Mr Alistair Corbett Mrs Alina Davey Guy Davies Henry Davis MBE Mr Richard Fernyhough Patrice & Federica Feron Ms Kerry Gardner Ivan Hurry Per Jonsson Mr Ralph Kanza Ms Katerina Kashenceva Vadim & Natalia Levin

Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Christopher Little Paul & Brigitta Lock Mr Peter Mace Patricia & Michael McLarenTurner Mr John Meloy Andrew T Mills Dr Karen Morton Mrs Jennifer Oxley Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Natalie Pray Mr Christopher Querée Martin & Cheryl Southgate Ms Nadia Stasyuk Matthew Stephenson & Roman Aristarkhov Louise Walton Howard & Sheelagh Watson Des & Maggie Whitelock Liz Winter Bill Yoe Supporters Mr John D Barnard Mr Keith Bolderson Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Christopher Fraser OBE Mr and Mrs Gofton Will Gold Mr Peter Gray Mrs Maureen HooftGraafland The Jackman Family Mr David MacFarlane

Mr Frederic Marguerre Mr Mark Mishon Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson Mr John Weekes Mr Trevor Weston 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) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (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) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen)

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 Xenia Hanusiak Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners IMG Pictet Bank Steppes Travel White & Case LLP Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas Lazard Russo-British Chamber of Commerce Walpole

Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith 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 The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Fidelio Charitable Trust The Foyle Foundation Lucille Graham Trust Help Musicians UK John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute Newcomen Collett Foundation

The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation The Radcliffe Trust Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation 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 Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass 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 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 AM Laurence Watt Elizabeth Winter

General Administration Timothy Walker 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

Lucas Dwyer PA to the Chief Executive/ Administrative Assistant

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 Nick Jackman Development Director

Concert Management Roanna Gibson Concerts Director

Vicky Moran Development Events Manager

Graham Wood Concerts and Recordings Manager Sophie Richardson Glyndebourne and Projects Manager (maternity leave) Fabio Sarlo Glyndebourne and Projects Manager (maternity cover) Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter Tours Co-ordinator Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians Christopher Alderton Stage Manager Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator Laura Kitson Assistant Transport & Stage Manager

20 | London Philharmonic Orchestra

Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Ellie Franklin Development Assistant Georgie Gulliver Development Assistant Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager

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.

Megan Macarte Box Office Manager (Tel: 020 7840 4242)

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

Rachel Williams Publications Manager

Cover artwork Ross Shaw Printer Cantate

Rachel Smith Website Manager Greg Felton Digital Creative Alexandra Lloyd Marketing Co-ordinator Tom Wright Marketing Assistant